Black & White Noise: An Interview with Toy Light

A conversation about Kandinsky and Zeroh, Dragon Ball Z and Aphex Twin, with Alpha Pup artist, Toy Light.
By    July 1, 2015

Diana Dalsasso

Photo by Diana Dalsasso

In the age of constant content, devoting yourself to one deed is heresy. Actors have bands and book deals. NBA players hit jump shots and fashion week. Supposed journalists hawk hideous t-shirts. Everyone you know raps and wants you to download their podcast. “Create” across platforms or lose brand-building retweets with each day of supposed languor. Enter 23-year-old Walker Ashby AKA Toy Light, one of the few truly capable of creating art in an era where the words are nearly devoid of meaning.

Raised in the Bay Area, Ashby moved to L.A. after enrolling in the art program at UCLA. While developing his skills as a photographer, painter, and illustrator in class, he quietly crafted a singular amalgam of trip-hop, rock, and electronic music between spliff-fueled sojourns to Low End Theory. With a Thom Yorkian falsetto and a gift for marrying seemingly dissonant sounds, Ashby’s music is both visceral and intellectual (in the best sense of the word), made equally for head nodding escape and deep cogitation. For immediate evidence of his talents, listen to the titular track from Open Mike Eagle’s 2014 opus, Dark Comedy, which Ashby sings on and produced.

This May, following a string of solid EPs, Ashby released his full-length debut, Sightless, Unless (Alpha Pup). One of the best L.A. albums of 2015, it’s an assured debut that encompasses so much in so little time. Ashby’s guitar riffs shuttle between grinding and gossamer; his beats thump and smack amidst waves of computer glitch and tape hiss; his voice is clear and affecting; and the bass writhes forcefully beneath the surface. Throughout, the lines between analog and digital blur beautifully, as if they never existed at all.

I recently spoke over the phone about his album, his upbringing, and his art. You won’t believe how much content there is. You won’t find another interview that touches on Kandinsky and zeroh in equal measure. Open it in a new window. – Max Bell

Your set at Low End in May was great. How did your show in Santa Cruz go?

Toy Light: That was such a crazy weekend that I kind of blocked it out of my mind. I was traveling with some other Alpha Pup dudes and then played some shows on UCSC campus. The one show that we played on a Saturday night up there was in this camper/trailer park area on campus. It blew up. It was probably the biggest party show I’ve ever played—200 people or more. It got huge.

Who else was on the bill?

Toy Light: It was me and Jincallo, this guy Crem’e, Mystery Cave—they’re all expecting releases on Alpha Pup soon—and a bunch of other Santa Cruz artists. A bunch of artists from all over kind of flocked to Santa Cruz that weekend. It was just this fucking major blowout. There was a radio station thing that a bunch of people did. I played on the Santa Cruz radio station on campus at like nine in the morning. It was crazy. I slept maybe like an hour the entire weekend.

What have you been up to since you’ve been back?

Toy Light: I’ve been listening to a lot of different stuff lately and thinking about the next album and the new listening experience I want to create. I want to have major control over how that goes. I just played guitar for three months straight and didn’t record anything. I’ve been playing nonstop. Now I just started recording and mixing and getting new beats together. I’m about three songs in. But usually when I start a new project I’ll make over twenty songs.

Word. Let’s go back. Where did you grow up?

Toy Light: I was born at UCSF and then I lived in Bernal Heights, which is right above the Mission. Bernal Heights are these hills that overlook the entire city from the south. My parents raised me right about San Francisco, behind it. It was a very seedy neighborhood at the time. There was crazy stuff happening everywhere. My parents couldn’t stand to raise me there more than a few years because there were crack heads everywhere, crazy lesbians that lived next door that would be screaming at each other and having crazy sex—there was just a heaviness in that environment and my mom wasn’t comfortable with it. But then they took me up north Bay, up in San Anselmo, which is a little ways into Marin. Then we lived there to a little while. Then they took me back down to southern Marin, and that’s where I did a lot of my schooling.

Was there a music scene that you became involved with in any of those places?

Toy Light: No. I had no musical community around me. I was way too young when I was living in San Francisco. When I started getting into music, I was hearing stuff on the radio, my mom introduced me to Jimi Hendrix, and my dad introduced me to Led Zeppelin and AC/DC. Then, when I was in sixth grade, I got my first guitar. I had friends that were really into music, and I’d say that they pushed me to actually play stuff. I always saw myself as a fan or a singer. I wanted to be a singer when I was really young, but it wasn’t until I got into Jimi Hendrix that I learned that music is what carries the entire culture.

What was your earliest experience with visual art?

Toy Light: I drew a lot when I was in elementary school. I was obsessed with Dragon Ball Z. As far as two-dimensional illustration went, I felt like that stuff was the highest form for me. I would draw those characters and was obsessed with the story line. I never felt like I was an artist or anything. I just did it out of obsession. I was always into playing with action figures. I was just an imaginative little weirdo kid, and I didn’t really consider visual art until my dad introduced me to photography.

In high school, I started to take photography really seriously. I was working in the dark room, taking black and white stills of my girlfriend, my friends, outside. And I got really into making photographs in the darkroom while listening to music. Just sitting in complete darkness and making black and white photos from the real world. There was this incredible stillness in that room. My parents built a darkroom in their house a few years before I got into photography. So I was really lucky to grow up with parents that were really bohemian. They had a great record collection—it was just a great environment to grow up in. They’ve always been really supportive.

Were your parents artists?

Toy Light: My uncle on my father’s side is a superstar fashion photographer out in New York. He’s the star of the family when it comes to his career in art. The rest of my family does a lot more conventional jobs. My mom and dad have a biotech company. They’re incredibly smart people. They met at UCLA and they’ve always been hardcore science, but my dad always had a deep fascination with photography. So my dad showed me how to really take pictures and print them and expose them… If you’ve ever developed photographs, you’re exposed to all kinds of crazy chemicals constantly. They’re light sensitive, so if you do things in the light then your process gets screwed up.

How did you get into painting?

Toy Light: I got into painting in college. My arts program at UCLA was very wide ranging in what medium you could do. Basically, you had to take every class. It was very conceptually taught. If it was drawing 101, then you would start from the basics: drawing models, drawing nude models in the room. It was very representational. But that only lasted for a week. The next week, gray scale: How do you achieve definition or depth in a two-dimensional piece of paper? Drawing 101 was really tough for me because there are two classes of drawing. There’s actual drawing from reality and this type of drawing that they call ‘bad drawing’. Bad drawing is where you’re drawing from your mind what you think it’s supposed to look like. If you draw from reality, say if there’s a model in the room, you’re not looking at the piece of paper. You end up drawing something that’s quite close to the actual image. You become more of a camera when you’re not looking at the piece of paper, when you’re drawing less consciously.

I started out doing bad drawing, is what I’m trying to say. I was like, “Okay. How do I fix that? How do I get better?” I did get a little better doing unconscious drawing, blind drawing. That stuff got me interested in the action of drawing—using my arm, using my body. By the time I took painting class I was so used to this gestural art making—using my body, using swift motion. And during all of this I listening to Flying Lotus and Nosaj Thing and Portishead and getting these rhythmic geniuses into my bones. So I never got into painting for the purpose of creating representational work, but always to make more of a record or a document of emotion. I just tried to translate energy, energy that came from music, my mind, and my body. That’s really the tornado of ideas that propelled me through college.

Who were some of the first painters that inspired your work?

Toy Light: I always loved Kandinsky. I was fascinated by the idea that he created spiritually charged paintings. That just got me thinking about how we assign certain mental properties to objects. Why do I care about the placement of these shapes on the wall? His bravery in trying to pursue that idea and making the paintings that he made really got me thinking about what it really means to make art.

I really loved Gustav Klimt. He did some pretty amazing figure paintings. The way that he would involved texture and figures (human bodies) in a way that portrayed their isolation or their respective disassociation with their environment and the way that he would portray people in these sketches really caught my eye.

Mark Rothko. Just the ever consuming anxiety that he would transform a room into. It was just a giant color, a wall of texture. That was cool to me. UCLA taught me to think about context being almost equally important as that work itself. I love artwork that affects the context, as opposed to work that is totally housed by the context. The context being the gallery, the wall, the frame, the lighting. Rothko made work that I felt transcended the wall. It was so much more than a mind game. It was a very emotional thing that he did for people with his paintings.

So those are some painters that I really dug. Besides that, I do love Picasso and cubism. There’s a movement in Italy called Arte Povera, “poverty art.” They have no real materials. They just use things that are around them. They’ll spill coffee on the piece of paper to make brown. Or they’ll use a stick to carve texture into a copper plate to make a print. They use forms of printmaking that remind me a lot of photography. Jannis Kounellis made work that was so environmentally charged. You could almost see his studio in the work. Do you know how printmaking works? It’s really close to photography. It’s all physical. You have a copper plate that you scratch into or draw into with a needle, then you wipe ink on top of it, and then you put the copper plate into an acid wash bath. All of your carvings become permanent. It’s a really bizarre and archaic form of making images, but at the end of the end day you have this copper plate that you can put ink on and press to any surface and leave an image. So I got into using sticks and the natural environment to create textures and motions. I related that to the music I made, because I would record things around me. I would use field recordings. I wouldn’t dig around on the Internet for samples; I would take things from the real world and place them in the music.

Another painting collective that you can see in my work is the Gutai. It’s like body-oriented painting. The way they paint is basically a dance. You can directly see how my stuff is related. It’s a very similar process. But they’re not like Jackson Pollock’s work. Pollock would completely attack the canvas to create this ever-consuming mass of imagery, whereas the work of the Gutai is more of a record or a document of movement. I don’t think Pollock focused on the singular gestures; he made a mass of gestures. But the Gutai was a huge influence for me.


What music were you listening to at 16?

Toy Light: I was into indie bands at the moment. I was really into Silversun Pickups, Social Distortion. It was kind of my punk/angsty phase. I remember Crystal Castles came out and that shit blew my mind. They blew up so fast and everyone I knew was obsessed with them. I heard a little bit of Flying Lotus at the time, but I didn’t start getting into L.A. stuff until I got here. But around 15-16 is when I started getting into Radiohead and Nine Inch Nails and the really big influences are really present on the album.

I think this album is, for me, a photograph of that period. I did not set out to make a futuristic album that people would listen to in ten years. I went in a much more nostalgic direction. I was trying to make sense of that time and what those listening years really did to me.

Is that why Sightless, Unless is so fixated on the idea of birth?

Toy Light: Totally. As far as the conceptual messages behind the music, at that time I remember feeling so alienated from my surroundings. It was an incredible place to grow up and I had so much to be thankful for, and I still do, but I didn’t have my reason yet. I felt alienated because I was listening to all of these crazy bands, and when you’re 16 you’re just thriving with emotions that end up nowhere. They just swell up in your head and you hope to make it out. But this album reflects that time the best for me because I remember feeling fearful at the time, what I was doing, and trying to figure out what my purpose was. Is music and art my actual calling? It totally was, but accepting that and taking action was scary for me. My family was pushing me towards conventional career paths, and I remember it was around that time when I had to tell them what I was going to do. They’ve always supported me, but it was hard for me. It was scary. I didn’t know how to start other than just making stuff. It’s like, “What do I do? Do I go sign up somewhere?” No. Being an artist is all about having an internal drive. And you just pray that this drive that you have to make stuff continues forever. You have to hope and pray that you stay inspired inside, whether or not you get compensated. If you’re an artist, you’re making art for a reason that you’ll never know. You’re always looking for it.

When did you first discover electronic music?

Toy Light: The first electronic stuff I got into was Aphex Twin. I was just so intrigued by it because I couldn’t associate my emotions with it at the time. It felt like Math to me. I was like, “How do I relate this music to my life? Oh, I can’t. That’s why I like it.” When I was listening to all of those crazy bands in high school they had words, guitars, and drum fills, all of this stuff that you’re familiar with. But when I got into electronic music it was like this completely alien landscape of sound. [I also liked] some of Trent Reznor’s stuff. There’s this Nine Inch Nails instrumental album called Ghosts. That album is the biggest reason why I got into production. He brought live instruments and electronics together in a way that still sounds very unique. That was the first thing that got me into electronic music.

When did you start attending Low End Theory?

Toy Light: I was bored at college after not finding the right people to kick it with and party with or listen to music with or make music with. Most people who go to UCLA are either partying or doing homework. I didn’t really have homework; they just expected me to have ideas and work. My education involved so much more action. A lot of action for me was going out and understanding my surroundings, L.A. and the music. I started going to Low End Theory immediately after I moved here with whomever I could get a ride with.

Do you remember the first night you went?

Toy Light: Yeah. I think Mono/Poly and Tokimonsta were playing. It was a Brainfeeder night. It was just pure magic. I would go there and be star struck like everyone else who goes for their first time. The music that originated there, it gets into you pretty fast. At least if you like hip-hop and dance music. It’s so obviously your favorite venue and your favorite show in L.A. It’s definitely not for everyone though. I’ve seen people go to Low End that didn’t quite fit in. Some people thrive more in the Hollywood/Avalon kind of environment. Low End is more like a community. It’s more underground, which is all I’m trying to say.

What are some of your favorite beat scene albums?

Toy Light: Los Angeles. I listen to that one for the texture and the color of it and the grit. I’ve listened to the last two songs on that record probably more than any other songs. “Testament” and “Auntie’s Lock-Infinitum,” those are like my two favorite songs. Aside from that, I love Nosaj’s first two albums. Mono/Poly’s Killer B’s… Lapalux put out an EP that I listen to all the time. Clams Casino. [He’s] probably my favorite beat maker for all the atmosphere and the texture and the depth. All of his early mixtapes, the instrumental ones, I listened to that stuff more than anything when I was starting out. Burial. I was super into Burial. I still am. I’m going through a Burial phase right now.

Why did you want to combine analog and digital music? What was so appealing about that?

Toy Light: I like the crunchiness of digital stuff. I like that you can create instruments digitally so fast. And if you produce them right then you can get a liveliness out of them. You can tell when some albums are just made on laptops. I don’t like all sounds on the laptop. I’m really picky about the sounds I use that are synthesized digitally. There are some that I really like. But most sounds that I really connect with come from acoustic environments. They come from live happenings. They come from actions that I take in the real world—playing guitar or recording some object that I play in my room. I’m fascinated by the placement of these moments in music. You can create meaning in music, whereas in real life, this object doesn’t mean anything. The sounds that you take from the world and control, that excites me.

What’s the biggest challenge in composing that kind of music?

Toy Light: The biggest challenge is having faith that a song is going to be good, believing that people will listen to this. I listen to my music more than anyone, but I listen to it from a critical standpoint. How do I separate how I enjoy music from that? I don’t. The biggest challenge for me is knowing what stuff is better. My favorite songs that I make are totally different from your favorite songs. When it comes to curating the releases and picking which songs, which sounds, and which parts, I always go with my gut. I always pick the things that I like best.

I don’t think the process is so much a challenge for me. I feel like in one day I can prove to myself that I’ve come a long way with my skills with recording and beat making. It used to be really hard and challenging for me to get to the place where I’d be proud of something I made. Now I can make something in one day and be kind of tripped out, like, “Wow. I really like that.”

I think the challenge now is, how do I communicate with clarity what I’m trying to say? What do these sounds say? Do I have to say it myself with my voice? Probably.

Writing for me is really challenging. I would say that’s my weakest point. I’m really trying to develop my style with a lot more clarity for this next record, both with my voice and the words, being a better lyricist.

Do you write every day?

Toy Light: No. I don’t. I sing every day. But I write lyrics in very particular moments. I have to plan for it. I have to make some hot tea, I have to be relatively sober, I have to be sitting. I have to make time for that. That stuff for me is tough. I’m such a maniac with how I make music. I make music to relieve tension in my mind. When there’s tension in my mind I write horrible stuff, stuff I don’t want to sing. So for me to write words is a challenge. I want to be more fluid with the writing process, because the music for me isn’t challenging. It’s challenging if I’m writing a really complicated guitar riffs, but a few hours of practice and that’s solved.

Do lyrics come to you all at once, or is it more of a fragmented process?

Toy Light: When I’m really focused, I can write stuff the right way in the moment. But then when I have to sing it—there’s a relationship between the sounds in the music and the words, and I’m very, very controlling of that. I won’t just say anything. I believe that there is an art to enunciating words over music. It’s like rap music, right. I’m not trying to be a rapper, but I learned from rap music that saying words in rhythm over music is a puzzle; you have to pick the right words. Especially because I make pretty beat-oriented music, I have to be choosy with what words I use. It’s fun for me, but it’s challenging.

Are there any rappers you admire for their style/vocal inflections?

Toy Light: Oh yeah. I listen to rap music a lot. Zeroh is one of my favorites even though he’s so off the grid and is so hard to keep track of. What he does with his voice and the way he spaces out his words is really crazy to me. He sings a lot too. He’s like singing-rapping. He’s totally in his own world. Busdriver is crazy. I don’t even know how to begin doing something like that. I really like Earl Sweatshirt. There’s some stuff on Mike Will Made It’s album Ransom [I like].

Who are some of your favorite songwriters?

Toy Light: I really like Neil Young, Grizzly Bear, Mazzy Star, Kurt Cobain, Pink Floyd. Beth Gibbons from Portishead is probably my favorite songwriter.

How do you feel about Thom Yorke comparisons?

Toy Light: I’m all about it. I think that he communicates emotions with his voice that work so well with the music. Radiohead’s music is so dreamy but so complex and so beautiful. He uses his voice more like an instrument. When I first got into them, Yorke’s voice was such a big part of why I loved them. They just make the highest form of music in my opinion. And the comparisons that I get mean a lot. Lately he’s been embracing the all falsetto with his voice and I really like that. I welcome the comparisons. While I believe that I’m not really as good, I’m trying to make something different. Radiohead as a band stick to a more rock and electronic format, whereas my stuff is deeply rooted in hip-hop. But like I said, the comparisons mean a lot. [Yorke] is definitely one of my favorite singers.

How long did you work on Sightless, Unless?

Toy Light: I started working on it as an album about a year ago. So a year ago today I had maybe three songs done but no idea what I was making. Then Kev offered me the opportunity to put the album out with him on Alpha Pup, as well as pressing vinyl. For me, to make physical copies of my music—I had to say yes. That was such a magical thing for me. I create music from objects in the world and then for it to all end up on a disc that I can hold, it’s full circle. I was just really down. Writing, mixing, and recording everything took about six or seven months. Then I was mixing every week at Kev’s studio for about two months, which is a lot. If you ask Gaslamp [Killer], he’ll tell you that Walker was there all the time mixing. That’s mainly because I have different speakers at home. I was mixing on studio speakers, mixing on my speakers, trying to balance it, and get it as good as possible. That took me a long time. Overall it took about nine months. And there was about a two-three month break between when it was completed and when it came out.

How do you and Alpha Pup feel about the record?

Toy Light: They’re really happy with the album. I wanted to make an album that would ring out as the starting point, an album that had a lot of simplicity in some parts and also a lot of complex sound design and musical elements. I wanted to demonstrate a lot of range in the album and they were really happy with that. While none of the songs are necessarily huge “club bangers,” all of the songs have a lot of sonic depth… I wanted to make something that was more catered to the people listening as opposed to people that are there to party. That’s why the Santa Cruz shows were challenging for me. I just made this record that wasn’t a party record at all and I took it to the craziest party at the craziest party school in the middle of the woods. I’m still figuring out the way that the performance should be.

With that said, everyone that had a hand in helping me get the music out is very pleased with it. Alpha Pup and my friend Jake over there have been super supportive. He’s been DJing the music out a lot; so is Kev at Low End. I’ve got good feedback from people. I’ve got new fans. People have reached out. That’s what it’s all about.

What program(s) do you use to record?

Toy Light: Ableton. Pretty much everything I’ve put out as Toy Light has been made on Ableton. It was just on this last record that we mastered in Pro Tools. Daddy Kev mastered it in Pro Tools. But I recorded, produced, and mixed everything on Ableton.

What do you think Kev added to the record that wasn’t there when you gave it to him?

Toy Light: He’s such a master with how he can mix drums in such a way that doesn’t overthrow the music. He brings a liveliness to the drums and the bass that doesn’t overthrow the music. I purposefully mixed the record before I handed it over with the drums and the bass a little bit quieter because I wanted my voice and the guitar and the melodies and the more trebley stuff to be most present. But I think what he did was he left all that there and still made it a really hard hitting yet very controlled. He gave the record more bottom end definition. Anyone can make bass, but to control it with the music and with the changes in the song and the rhythm, that’s the hard stuff. He knows bass so well and the way that a song should move underneath you. He’s really experienced with that, especially with DJing at Low End every week. He really helped me perfect that movement of the record as far as the bass and the drum.


There are photos included in the physical packaging of the album. Does each photo relate to a song on the record?

Toy Light: Totally. When I first moved to the east side of L.A., to Highland Park—you know when you move somewhere you feel very exposed because all of your belongings are out and in boxes, you’re traveling across town and you’re unloading shit, your life is kind of out of control. I took a photograph of my neighborhood around me and the 110 freeway that goes through Highland Park. I photographed a lot of cars going through there. Just a lot of people in transition. Just transition periods and that process of moving here to this new neighborhood. It’s so much more than a neighborhood, it’s another world compared to the west side. The photographs reflect the unknown in my new home. I tried to keep it true to the original form of how I got started in the dark room.

Why do you prefer to shoot almost exclusively in black and white?

Toy Light: You can have a level of control with black and white that is so romantic. You almost can’t make a bad black and white photograph, can you? With colors you’re dealing with so many different tones and mixtures of colors. You never really see a pure color in a color photograph. You see a range of different mixtures of colors. With black and white you can achieve a true black in a photograph and it would look normal, or pure white. You can attain purity in a black and white image much easier. You can do it with color too, but it looks disgusting. There are some album covers that do it well, but I wanted to maintain that stark, kind of romantic, almost old look.

Do you have a favorite song on the record?

Toy Light: My favorite song is “Hiss of the Womb.” I’ve never heard anything like that. I remember when I made that song. It’s my most coherent idea. It’s the most upbeat song. I felt like I wrote it well. The bass on it is just so pure. It’s all live bass. The way it sounds on vinyl is fucking insane. That song was made for vinyl.

Did you direct the video for “Hiss of the Womb”?

Toy Light: Yeah. I went out on a road trip with two of my buddies. We were shooting along Route 66 on the way to Las Vegas. The plan was that we would shoot all day on our way out there, get to our hotel, party all night, and then shoot more on the way back. It was just a 24-hour journey. Really, the only stuff we shot in Vegas was the night stuff with the lights where I’m performing outdoors. Everything else was along Route 66 in the desert to and from Vegas.

Did you edit the video as well?

Toy Light: Yeah. That was the most fun for me. Editing is so much like working on music on Ableton. There’s a timeline view in front of you and there’s all these different video clips. The cool thing about that is that it’s video and audio. On Ableton you’re just looking at a bunch of information. On Final Cut you’re looking at a whole world that you’ve filmed. I really got swept away by it. I felt like, “Why haven’t I done this before?” I’m really excited to get working on the next video.

Do you find that your work in one artistic medium—painting, photography, music—informs your work in another?

Toy Light: Sometimes I’ll have to take a break from the music because I’m not feeling it and I just have to adventure into something else, like painting or drawing. [But] when they all come together, that’s my highest form of working. That’s a very rare and magical moment. It happened quite frequently in college because every day I would be in class and it was my duty to make it happen.

What do you like to do when you’re not making art or music?

Toy Light: I like to watch movies. I like to drive around and listen to music. I try to enjoy my life and try to see the world truthfully. I’m lucky that I live in L.A. and I’m talented enough to support my artistic visions, and work at a restaurant and get my life together. That’s the hardest shit ever, doing both things, supporting yourself and then going into the studio and supporting your vision. But it’s totally worth it. When I do have time to enjoy myself, I’ve never been happier. Sometimes, if I have a really good day, I forget that I’m a musician. I forget that I’m an artist. I’m just a person having fun. That only happens like once or twice a year, but those days are so nice. I think being in L.A., you’re trained to always be aggressive towards making your dreams come true. It’s very rare when you step out of that sphere of self-awareness.

What’s the best art exhibit you’ve seen recently?

Toy Light: Joseph Koudelka. He’s a photographer that had an exhibit at the Getty. He’s a crazy black and white photographer who’s shot a lot of stuff in Israel. There’s this mile long wall that separates Israel from Palestine and there’s all this religious and political tension and I bought this book and it was all an exhibition at the Getty, this fantastic photo documentary of this wall that separates these two countries and all of their tensions. He shoots a lot of stuff of natural elements corroding. He’s just an amazing photographer.

What’s your next major artistic goal?

Toy Light: With my next album, I want to argue something. I’m going to Europe in a few months to play some shows out there, and I think that I’m going to learn something out there that when I come back I’ll know exactly what it is. My goal right now is to tour with the album and bring it to as many people as possible and get the performance as tight as possible. I want the performance to really change the game. I’m performing and singing and playing guitar and I have my own lighting. I’m looking into having another person on stage with me to handle the beats. That’s the next goal, to perfect the performance. I think I’ve married these sounds together in a way that this performance can work. I used to think it would be corny to play guitar over beats, but I’ve found the sound. Now I feel like I’m ready to come out and let people see who Toy Light really is.


We rely on your support to keep POW alive. Please take a second to donate on Patreon!