(Sidenote: as a Midwest native myself, such sense of place made me nostalgic for those post-college cold winter nights at smoky dive bars scattered all throughout the city, spacing out to psych rock and/or house music ‘til the early morning hours.) With Logan Floyd’s atmospheric cinematography and a soundtrack composed of Columbus’ underground’s finest (including the featured Bobbi Kitten’s duo, Damn The Witch Siren), Poser highlights the visceral and mysterious energy that these underground shows exude, while also feeling authentic and truthful in its embrace of the avant-garde weirdos that are the lifeblood such counterculture. how she records interviews digitally only to re-record them on a tape deck – is echoed by directors Ori Segev and Noah Dixon’s lightweight style. Lennon’s supposed penchant for “lo-fi sound” and “honesty” – i.e. What makes Lennon’s turn so freaky in its scope is how well she plays her hustle.ĭespite her cluelessness (or at least her appearance as such), her initial approach parallels the music scene in terms of a similar aesthetics and ethos – that is, a minimalist, DIY, do-what-you-can-with-what-you-have one, disconnected from capital interests and done solely for love of the medium. Bobbi wonders what’s really in Lennon’s notebook, and if the existence of her podcast is nothing but a nefarious ruse. She starts to open herself up emotionally, too, allowing Bobbi to be a bouncing board for her own lyrical ambitions.īut the longer she’s in their company and the more vulnerable Lennon makes herself, the more Bobbi begins to pick up some weird vibes … particularly once she begins hearing Lennon’s lyrics at shows besides her own. Catching the eye of the poetic Micah (Abdul Seidu) and the energetic Bobbi Kitten (playing a fictionalized version of herself), Lennon is soon brought into the central fold of a music scene consisting of numerous secret shows, rambunctious hangouts, and copious smokes. Lennon’s non-threatening stature and quiet demeanor makes it easy for people to talk to her and vice versa, as she frequently likes to reinforce that these interviews move her out of her comfort zone. Adorned with headphones and her smartphone as the mic, she samples the offerings from indie rock to alt-folk to “queer death pop” as research for the pod, jotting down tidbits in her bound notebook whenever she can. Obsessed with music (as the name she shares with a famous British musician may suggest) but rather out of the local scene’s loop, she starts a podcast both to document it and to serve as her in-route. Clad with aqua-green ombrés and ballpoint tats that together scream ‘crusty seapunk’, Lennon (Sylvie Mix) snakes her way through the musty basements and cavernous warehouses of Columbus that play host to the low-budget pop-up shows of the city’s independent music culture.
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