Jun 15, 2017 01:26PM
By Kyle Eustice
“It was really difficult to settle on something because it is important to have a name that really captures what you're going for,” Deal explains. “I think Glow in the Dark does a great job of that because it has some elements of nostalgia, but also has some duality between light and dark. That sort of captures our musical style.”
“A band name becomes part [of] your identity,” Gum adds. “It can inform artistic choices beyond the music.”
Gum and Deal loved the contrast of something lighting up and coming alive in the dark. Gum, in particular, was drawn to glowing monster models/kits from the 1960s, and the name tied into some of the electronic instruments they use to create their music. From the sea of blinking LED lights on the modular synthesizers to the LCD screens of their vintage drum machines, light plays a starring role in what they do.
“It's synth-based, so it's definitely an electronic act,” Deal says. “However, it’s not just your typical ‘press play’ DJ act. Aaron plays all of the parts organically, and we use drum machines in the same manner.”
“It's easy for some people to write off synth-based music as ’80s or modern electronic music as whatever latest sub-genre is popular at the moment,” Gum adds. “It's OK to draw inspiration from your influences, but important to develop your own style.”
With its heavy synth sound and explosive melodies, Glow in the Dark earned an opening slot for famed ‘80s actor Corey Feldman’s group, Corey Feldman and The Angels, at Maloney’s Irish Pub, which drew a huge crowd due to Feldman’s bizarre behavior during a performance on the Today show in September 2016. The gig was the catalyst for getting their live show together, which they admit wasn’t exactly figured out yet. Up until this point, they had only been a studio act.
“We had barely talked about how we would go about performing any of [the music] live until news broke that Corey Feldman would soon be coming to town,” Gum explains. “Suddenly it was a real thing. This project that we had been slowly chipping away at in between our other projects had its first real live show, and we had two months to figure out how to transition a studio project into a live show. We discussed bringing in some friends to play parts, or even add parts, but eventually we kept it simple with just the two of us.”
Despite several hiccups, including Feldman running three hours late, their inability to set up their equipment ahead of time and countless last-minute changes, they managed to pull off the set, which Gum believes is a testament to the importance of being able to improvise and adapt to the situation as it develops.
“The crowd seemed to enjoy us,” Gum says. “It wasn't your typical Omaha show crowd. A lot of these people are at this show only to see Corey, so that's cool to be able to entertain them.”
Although Glow in the Dark is in its infant stages, it’s quickly gaining its footing due to Gum and Deal’s extensive experience in the musical realm. Despite the industry’s competitive nature, they’re clearly up for the challenge.
“We have both played music for most of our lives and probably wouldn't know what to do with ourselves if we didn’t,” Deal says. “We don't really concern ourselves with how oversaturated it can be, we just focus on making the best music that we can for ourselves.”
For now, Glow in the Dark is putting the final touches on its seminal full-length album and sending its latest video, “Digital Lust,” into the web stratosphere, so there will be more from the duo in the near future.
“For me, this is probably the project that I have been the most proud of to date,” Deal says. “It’s a group where I feel that I can really express myself, and we don't put a lot of rules or limitations on each other. That is very refreshing.
“Making music is very special to me,” he adds. “It has the ability to really touch people, and that is a powerful thing. Even if it doesn't, expressing yourself with music is a very positive outlet. I think everyone needs that in some regard.”
Visit facebook.com/glowglowdarkdark for more information.
This article appears in the July/August 2017 edition of Encounter.