Endusk

 

ORIGINS: Western Sydney, NSW

GENRE: Prog, Metal, Alt-Metal

YEARS ACTIVE: 2000-2004, 2008-2010

 

MEMBERS:

• Rae Pale - Vocals
• Preston Peachey - Drums
• James McKenna - Bass (2000-2004)
  
• Adrian Leighton - Guitar, Keys
• Michael Noel - Percussion (2000-2004)
  
• Wes von Grabill - Bass (2008-2010)
  

RELEASES: 

• Unreleased Demo (2000)
  
• Powder
• Other unknown songs
   

• 01 (2004) - Download Here.
  
• 1. Four
• 2. Ecclesiastes
• 3. Moth
• 4. Omen
• 5. Hightide
• 6. Ink

• Marching Slow (recorded in 2009, released in 2015)
• 1. Puppet
• 2. Marching Slow
• 3. The Flight
  
• 4. Coda
• 5. September
• 6. Mad Bitch
• 7. Turn It Out
  

SUMMARY: Endusk started as potential 10-piece alt music project before finding traction as a five piece prog-metal band. Formed in Western Sydney, the band predominantly played in Sydney (including a residency at the Excelsior for the Blueprint Sessions) and also did some interstate shows in Victoria before breaking up around 2004. The band briefly reformed with an adjusted lineup in 2008/2009 to create their Marching Slow EP.

 

SHOWS: 

• Maroubra - unknown date, 2000 
  
• Monkeyfest, Lower Blue Mountains Neighbourhood Centre, Blaxland - 16th December, 2000
  
• Grounded Festival, Museum of Fire, Penrith - 17th March, 2001
• Assyrian Fest, Fairfield City Showground, Fairfield - 1st April, 2001
  
• Big Day Art II, Lewers Art Gallery, Emu Plains - 7th April, 2001
  
• Top Deck Youth Week Festival, Judge's Carpark, Penrith - 7th April, 2001 
• Gearin Hotel, Katoomba - 20th April, 2001
• St Marys RSL, St Marys - 23rd May, 2001
• Great Western Bar, Penrith - 25th October, 2001
  
• Kelts Bar, Blaxland - 3rd November, 2001
  
• Northpoint Tavern, North Sydney - 16th November, 2001
  
• Club 77, Sydney - 16th January, 2002
  
• Swamp Bar, UWS Kingswood - 21st March, 2002
• Kelts Bar, Blaxland - 5th April, 2002
  
• Great Western Bar, Penrith - 25th October, 2003
• Kelts Bar, Blaxland - 6th January, 2004
• Transit Lounge, The Metro, Sydney - 7th February, 2004
• Excelsior Hotel, Surry Hills - 21st February, 2004
• Bar Broadway, Ultimo - 6th March, 2004 (Launch for .01 EP)
• Excelsior Hotel, Surry Hills - 20th March, 2004
• Transit Lounge, The Metro, Sydney - 27th March, 2004
• October Residency, Excelsior Hotel, Surry Hills - 7th October, 2004
  
• October Residency, Excelsior Hotel, Surry Hills - 14th October, 2004
  
• October Residency, Excelsior Hotel, Surry Hills - 21st October, 2004
  
• The Metro, Sydney - 3rd November, 2004
  
• The Metro, Sydney - 23rd November, 2004
  

ORAL HISTORY:

RAE: Music was a massive part of home life growing up and I always knew I wanted to do something with music. Ugh, my supportive dad used to drive me to Johnny Young Talent School. I don't remember ever meeting Johnny Young. I actually hated going. Most of it was not my thing.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

ADRIAN: Rachel, Preston, James and myself were studying a music diploma at Nirimba College in Quakers Hill. There weren't many music schools running contemporary music diplomas in those days and this one was pretty good, we actually developed a broader scene with members of the bands Element, Point Laruso, Chase the Sun, and many more out of that college. Rae and James organised a jam one weekend with the aim of starting a funk band, but we were the only ones who showed up, which led to some more progressive rock sounds in the jam! We were all into that sound as well (bands like Tool, Cog, Mars Volta, Skunk Anansie, Bjork) so the songs we started writing moved pretty quickly in that direction. Funk didn't feel like the right vibe for the ideas and emotions we had to get out. We were all super excited by the way we were sounding together and we all became close friends (which we still are!)

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

RAE: We started off as an 11 piece band/concept, really. We were studying music and we thought it would be a good idea to make a huge band. Two drummers, two of everything. And then one day when it came time to rehearse only four of us showed up... I think James, Adrian and I were already loosely acoustic jamming at that point.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

PRESTON: Michael and I used to play in another band called Clobassi which was still together when Endusk formed. The rest of Endusk met Michael at a Clobassi gig where they saw him play and they asked me to get him for our band. He's so essential to our sound, it's weird playing without him.

Preston Peachey, Adrenaline Zine, 2004

JAMES: We all studied at Nirimba College, doing a diploma of Music. Preston knew Michael from the area so we started jamming there and did some of our first recordings there. I hadn't played in any bands before that, just high school stuff. I was listening to Tool, Smashing Pumpkins, Deftones, Sevendust, Incubus, and some older stuff like Led Zeppelin, The Doors, The Beatles, and cheesy funk stuff like Tower of Power. 

James McKenna (Bass), Noise Levels correspondence, 2024

 

PRESTON: Endusk was a little more serious than my previous band, Clobassi, in the sense that we had met at music school. Rae and I had a connect through our siblings and Michael and I had been playing together with Clobassi. We were into odd timings, which I hadn't really got to explore previously. My taste was broadening beyond metal and punk, so Endusk let me express these dynamics. We were less worried about genre. It was probably more stable as we were all into it... my other bands were a little garage with just guitar and bass with one of them doing vocals. Having percussion and a dedicated vocalist made it quite different. More people. More sounds. It was also a different vibe too as Rae is a singer, her melodies were very integral to the sound.  

Preston Peachey (Drums), Noise Levels correspondence, 2024

RAE: I was listening to a lot of different music to what we were creating. The boys introduced me to plenty of new music, especially their influences. I think also being in a loud progressive band and having a softer voice kind of influenced my writing style and then how I sang. My lyrics were informed by personal experiences and also the experiences of those closest to me. It was (is) a way for me to work through my shit.

Rae Pale (Vocals), Noise Levels correspondence, 2024

PRESTON: First we did a demo. The diploma at Nirimba meant that everyone had studio time so we tracked our first three or four songs as a demo. The studio there was really good - big treated, isolated room. I was not really a good studio drummer - I had no idea and my dynamics and improv make it kinda sloppy. This demo wasn't released or anything like that.

Preston Peachey (Drums), Noise Levels correspondence, 2024

RAE: The literal meaning of Endusk is 'In night fall' - it's just been the time of day where we've written our stories/music.

Rae Pale (Vocals), Obzine Issue 26, July 2002

ADRIAN: Michael Noel joined shortly after on percussion and it really brought a unique rhythmic and percussive feel to Endusk that not many other bands had. Combined with Rae's inspired lyrics and melodies, we felt we had something pretty special going on.

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

PRESTON: Michael was like a brother. He was the coolest guy I knew and we got to play music together. He added colour and texture. We were pretty relaxed about our writing of parts. We'd feed off each other a lot. I was probably stubborn and he was just so chill and level-headed. He brought maturity in some ways, with him being a little older than me, but he was also a hilarious nerd and dedicated metalhead when needed. He told such great stories. We would just sit and listen to music at my house, or drive around in his cool car listening to music really loud.   

Preston Peachey (Drums), Noise Levels correspondence, 2024

 

MICHAEL: Our style... it's eclectic, ambiguous. Rhythmically, I hope Preston and I can incorporate various techniques and styles from traditional percussion. I've been influenced lately by a lot of Soundgarden, Cog, Butterfly Effect (they're so nice!), Element, Newton's Cradle, Samuel Barber and weird Japanese manga soundtracks. I have a nostalgic love for Alice in Chains, Sepultura, as well as Massive Attack.

Michael Noel, Obzine Issue 26, July 2002

 

RAE: Our first show was in Maroubra. I remember it feeling really awkward. We didn't know what to expect, we'd been stuck in rehearsal rooms looking at each other and then all of a sudden you are all facing the same way - except for Adrian; I clearly remember him playing sideways facing his Marshall stack.

Rae Pale (Vocals), Noise Levels correspondence, 2024

ADRIAN: Our first show was a small club in Maroubra. I was so nervous that I played with my back to the crowd, staring at Preston for the entire gig. It wasn't a great start, but we soon started playing so much that we developed a tight live show pretty quickly.

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

Rae at Monkeyfest, 16th December 2000 (Obzine Issue 18)

 

REVIEW: These guys struck me as having a massive potential, with a fantastic vocalist (one of those rare, amazingly powerful female singers), but I can't really describe their sound - vaguely heavy-ish. Just check them out.

Review of Monkeyfest by Phil Williams, Obzine Issue 18, Feb 2001

 

REVIEW: A really, really, really solid band was this one - matching groove and metal perfectly and coupling it with some great female vocals. If you haven't seen Endusk then I suggest you try and catch them soon, they were easily my all-time most lucky find of the day.

Review of Top Deck by Luke Bartolo, Obzine Issue 20, June 2001

 

Big Day Art II, 7th April 2001 (Obzine Issue 20)

 

REVIEW: Soon enough and after much anticipation, Endusk turned up to calm things back down again. They achieved an excellent acoustic sound with not only acoustic guitars but acoustic bass as well as congas, performing some brilliant songs with a beautiful female voice. 

Review of Big Day Art II, Obzine Issue 20, June 2001

 

PRESTON: We played a Melrose Hall show early on.  

Preston Peachey (Drums), Noise Levels correspondence, 2024

RAE: Over time we settled into being a band and this affected our writing and how we felt performing.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

 

ADRIAN: Our residency at the Excelsior was a great experience. Cog had pioneered this series called The Blueprint Sessions, which launched their career in Sydney. They were a huge influence on us musically and personally we were stoked to play the same series. For our four-week run we curated different musicians to join us each week, which resulted in some inspired collaborations in the shows. We had Jamie Allen, the singer from Element, and he sang together with Rae for a few songs. Adam Hill (Blak Douglas) joined us to add didge on a few songs. And Michael Rivett, one of the best Jazz saxophonists and Rhodes players in the country, really changed our sound - was amazing to hear. 

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

PRESTON: It feels great to play every Wednesday night in the same venue, we're pretty comfortable at the Excelsior now after playing quite a few shows there since we started. We don't really have expectations of what will come of this, we're just doing it for the fun and hopefully people will come each week to enjoy what we do. 

Preston Peachey (Drums), Adrenaline Zine, December 2004

 

RAE: The first time we supported Cog in Blaxland was super exciting because we had gone to every residency show they had at the Excelsior. We had our own residency there too and a standout moment was having Adam Hill (AKA Blak Douglas) play yidaki, which was special for us. Ha! Also, we got a call that Tool were listening to our EP to find a support for their tour. Obviously we didn't get it. I was stoked at the thought of them listening to even one bar of our music.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

Banner from the Endusk website, c. 2004

 

REVIEW: Endusk enchants me for the first time. I've been wanting to see them and their progressive metal with low female vocals and hand drums. Their stage presence and energy captivates me for the entire set.

Review of Grounded Festival, Obzine Issue 20, June 2001

 

JAMES: Early on we played the Grounded festival out West, which was a blast. Once we hit the city we played the Metro Theatre a lot by doing our own bills and headlining. This was in the Metro's small room, which had a 200-300 person cap, and we'd bring bands in like Self is a Seed, Sleep Makes Waves, etc.  

James McKenna (Bass), Noise Levels correspondence, 2024

ADRIAN: We had an agent, Edwin Tehrani, who now runs New World Artists. We were his first band. We also had a manager, Jerry Soer, who went on to manage Miami Horror and others. We were also his first act, but I feel this is really what let us down during those years. We needed a more experienced manager to look out for us and make better decisions on how to record, release music, and tour. I absolutely don't blame anyone at all but it still feels like one of my great regrets not managing our career properly. Young bands are full of energy, creativity, and have time to create the art, but without proper guidance it's very hard to play the game right and develop a career out of it. 

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

 

RAE: Recording .01 - I remember it being an exciting time. The first time. So grateful to have recordings of Michael playing with us. I found it tough though. I wish I had more time to record my parts and to add other vocals ideas. The song 'Ink' from this EP is special to me. For me, it marked a change in our songwriting and sound.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

ADRIAN: For the recording of the first EP, our manager locked in Jonathan Burnside, who was quite well established. But Jonathan left us with a junior, Simon Wegman, who literally started working in studios that day. So we paid top dollar to work with Jonathan but only saw him for one or two sessions to mix the EP. In hindsight, and knowing how things are done now, we really needed a producer to help craft the songs into more radio-friendly hits. Triple J did play the first single, 'Four', which really helped grow the audience, but without ongoing support from Triple J it's almost impossible in Australia to establish a long-term music career.   

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

PRESTON: The demo was called .01 and we recorded it in Coogee at the studio that Adrian and James knew of. Some great dude owned it. It cost a lot but he wasn't around so it was all done with one of his team - lovely guy. It was really fun. We had high hopes for those songs. A guy James worked with decided to start a label and pay for the recording, which was pretty insane and generous of him. It was a weird time as we were all getting into different stuff and moving around a lot more, some of us left Western Sydney. I just remember hearing the EP for the first time and being really disappointed - which says a lot more about me than the recording. As mentioned previously, I wasn't a great recording drummer and we didn't really have the attitude, chops, and whatever else that was needed to make the record we thought we were making. Now I listen back though and remember that amazing time with some of my favourite people. It's great to have that memory and that EP to go with it.

Preston Peachey (Drums), Noise Levels correspondence, 2024

ANDREW: We played at the Evelyn in Melbourne and in some regional places in Victoria, but mostly - we played shows around Sydney. There was an incredibly healthy scene back then. Other highlight shows were supporting Cog and Regurgitator at the Blaxland Tavern, and selling our our Metro EP launch (which was an amazing experience). Also supporting MM9 at the Annandale during our second phase, and many many shows with other bands like Element. 

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

PRESTON: There have been... cool little obscure gigs where cool stuff has happened. Like playing in Fish Creek, Victoria with The Grand Silent System, there was only a vocal PA, only our friends were there, it was freezing cold (being the southernmost point of Victoria) and it was the last show of our Melbourne tour so we were all just exhausted and ready to go home, but it was such a memorable gig. 

Preston Peachey (Drums), Adrenaline Zine, December 2004

 

WES: I've been mates with everyone in Endusk from the beginning of their conception. My stepdad, Dr David Salisbury, taught them all at TAFE. That class was how they formed Endusk. As the years went by, we would do gigs together and I would marvel at the progressive and emotive music they would play. Great time signatures and interesting beats with beautiful yet haunting vocals. Endusk was definitely in my top 3 favourite Sydney bands of all time. My band at the time was Fat Slinky - horrible name but a lot of fun, and very energetic. The singer of Clobassi was in Fat Slinky and the drummer of Clobassi was in Endusk, so it was all incestuous. Looking back at it now, being able to play shows with your mates in other bands is about the best thing you could ask for.  

Wes von Grabill (Bass), Noise Levels correspondence, 2024

 

ADRIAN: We released Point O.1 and briefly toured to support this EP, which was going really well (the previously-mentioned sold-out Metro show) and we were getting some big support spots too. We'd always had a great friendship with each other in the band but it was quite a volatile working relationship. Wes von Grabill actually has a funny story about him coming to a rehearsal (before he was in the band) and seeing us fight relentlessly for three hours while writing songs. He thought to himself, my band (Keepsake) might never be this good but at least we have a fun time! Haha. So anyway, things were becoming more tense and difficult to navigate within the band. Michael then became quite sick with stomach cancer and, after chemo treatment failed, he sadly passed away. This obviously had a huge impact on us. I don't think we lasted much longer as a band after this - the joy had really left us and we needed a break. 

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

WES: I remember going to one of Endusk's band practices. In the living of the guitarist's parents' house, they set up their gear with blankets all over the walls. James and I (both bass players and unofficial best mates) would hang out all the time, even to the point where we've had three of the same jobs together over the years! Anyway, I ended up at their rehearsal with James, and within a few minutes of practice starting, as I sat on the ground in the corner trying not to be noticed, there was arguing, death stares, and immediate stops in the middle of a song as the drummer cross his arms like an angry king unhappy with his round table. Then they would play again, then stop, then more arguing. The singer would get quiet... they would play again, then the guitarist would stop, get mad, and James would try to help communicate the change or idea. Then more playing... and it was all in between these amazing songs. I remember leaving that rehearsal thinking, "Oh my god, that was the most dysfunctional band rehearsal I've ever seen! If my band did that, we would all break up. Yet they kept fighting and, as a result, there came an amazing song." I remember leaving that rehearsal going, I'm okay that my band's songs are not as good as Endusk's songs because that rehearsal was toxic! And my band, we laugh and joke, and have a great time at rehearsal. I will say, this is back when all you could do to record a jam was use a Tascam tape player and a shitty mic. Nowadays you can record everything so well and you can work on changes or new ideas outside of rehearsal, email them to everyone, and then come in ready and open for ideas. So I don't think it would be as dramatic and dysfunctional today. But back then, I'd say that Endusk band rehearsals were very dramatic, so don't forget to bring the tissues for the tears, some good ideas, and a tonne of patience, which I have none of, haha.

Wes von Grabill (Bass), Noise Levels correspondence, 2024

 

PRESTON: I just remember some major dysfunction. Rae, Michael and I had all moved into a house in the Inner West. Adrian and James lived in the city. I went through some weird times. I remember we were writing down how we felt about the band. I still have Michael's letter, I think. Mick had previously fought off cancer but it came back when we moved in. I was all ready to be more supportive but then it changed and he didn't have long left. After Mick passed we didn't do anything until years later. 

Preston Peachey (Drums), Noise Levels correspondence, 2024

 

RAE: I lived in a share house with Adrian, James and a few others. I know, for me, I struggled so I moved out with Michael and Preston and that home life with them was peaceful. Michael was recovering from cancer when we moved in together but, sadly, the cancer came back. We lost Michael and that was devastating. It was a tough time and I don't think Preston and I had enough space for Endusk. Michael was special. I remember our first jam after Michael had passed... Preston and I got home and were loading his drums in through the backyard - as soon as we stepped into the backyard we could smell Michael's incense as if it was burning right under our noses.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

JAMES: Michael passing away was probably a big factor in me moving on from Endusk.

James McKenna (Bass), Noise Levels correspondence, 2024

 

Tribute to Michael Noel, Endusk Website, 2005

ADRIAN: We got Wes on bass because (I think) James didn't want to do it. Two things helped us re-form - we had stayed friends over those years and friendship was super important for us as a band. Also, Rae had moved to Melbourne after we broke up but when she moved back to Sydney in 2008 we started writing new music and hanging out again. We kept at it and were enjoying what we were creating. 

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

WES: After my band Superb Lyrebird ended, Endusk decided to get their band back together but I think James had heavy music fatigue from playing in Superb Lyrebird. He didn't want to be in a heavy band anymore, he wanted to do something more electronic and dance-focused. He was on a different path and, to be honest, probably wanted to avoid more drama and dramatic band rehearsals and - as a result - he told Adrian and Preston he was too busy and "couldn't do it". So I guess I was the second option, maybe the third, haha! Regardless of coming off the bench, I was excited to play the songs and have the opportunity to put my twist on these songs while adding some more effects and tones to the music in the way I had developed with Lyrebird. 

Wes von Grabill (Bass), Noise Levels correspondence, 2024

 

RAE: I heard whispers of Endusk jams happening while I was living in Melbourne. I heard, one day, James didn't feel like jamming or couldn't jam so Adrian asked Wes to come along. I came to Sydney for a visit, met up with the boys, and we knocked out a track in one night. I think it was about a year later when I moved back and we started jamming again. Time was good for us.

Rae Pale (Vocals), Noise Levels correspondence, 2024

ADRIAN: We had some songs we'd started but never finished years before, so we worked on those and wrote some new ones. This period, I think, was our best creatively. 

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

 

WES: The first rehearsal went great and set us on a path to recording an album about a year and a half later. We worked those songs to death and yet I still think Adrian would want to redo all of them, haha. Without a doubt, it was one of my favourite recording experiences. Ian Pritchard recorded and mixed it... Ian makes everything more calm and relaxed and enjoyable and he's an amazing engineer and a great bass player. Marching Slow turned out great and the songwriting and bass work on that album is some of the best I've ever recorded, well, at least I think so.   

Wes von Grabill (Bass), Noise Levels correspondence, 2024

 

ADRIAN: We did a new EP, Marching Slow, and it was a much more mature approach than our first EP. We were a few years older and wiser. I still listen to this EP (Marching Slow) all the time. We self-funded it and recorded with Ian Pritchard (Beautiful Girls, Angus & Julia Stone), who was a friend of ours. There's still things I would change but I'm overwhelmingly proud of what we created - everyone was at the peak of their powers. Tragically, we released Marching Slow without any plan, just to our friends on Facebook... ha. After working on this for so long, it still hurts that we didn't give it the focus it deserved. Again, we really needed a good manager to pull it all together, but I was also planning to move to New York at that time so it probably didn't help with building the band's career.  

Adrian Leighton (Guitar), Noise Levels correspondence, 2024

 

RAE: Marching Slow was a different experienced to .01. We all grew up a little and individually had done different creative projects. I think also having Wes in the band changed the dynamics, how we wrote together and also the sound. James is a very melodic bass player and chooses really pretty voicings under Adrian's riffs whereas Wes is solid rhythm and his bass, when locked in with Preston, brought a fat and funky sound. The song 'Coda' from Marching Slow is one that I'm most proud of as, like 'Ink' on the earlier EP, it marked a change in our sound. I also really enjoyed Adrian's groove in this song and how it sits over Preston's beat and the choices Wes made with the bass.

Rae Pale (Vocals), Noise Levels correspondence, 2024

 

 

REVIEW: Endusk's track 'Coda' is reminiscent of older Howling Bells... it's a crisp affair, driving by strong vocals of singer/'glam puppet' Rachael Pale and some alternately spacey and chugging guitar.

Review by Matt Hickey, WhoTheHell.net, December 2009

 

WES: I don't think my version of Endusk got to really play that many greats hows. Maybe one show at the Annandale, which was good. I'd seen Endusk previously in the city with Element in a cool, small little venue, and they were amazing, so I was excited to be in the city for a gig with them. Any time Rae was behind the microphone was amazing and I do wish Endusk had catered their sound more around her vocals, which we started to do on Marching Slow. To me that meant, tuning the guitar down and not hitting the cymbals so hard. I reckon if we did another recording it would have really been about making Rachel and her voice on top of the mix.  

Wes von Grabill (Bass), Noise Levels correspondence, 2024

PRESTON: We had a couple of gigs and recorded six new songs at a nice little space in Annandale. We got Ian from Noisegate to record it and it turned out great. But I had met my now-wife at one of those recent Endusk gigs - she had a visa and ticket to move overseas so a few months later I left Sydney. 

Preston Peachey (Drums), Noise Levels correspondence, 2024

 

RAE: I think the band fizzled at this point. I may have been the one to initiate it. I had a lot going on personally and just got tired of sound guys and others yelling at me to sing louder, sing this way, sing that way - that kinda shit wears away at you after a while and eventually overshadows the fun you once had when creative with some of your favourite people.

Rae Pale (Vocals), Noise Levels correspondence, 2024

WES: I'd say we finished up because the band didn't have a true manager or a booking agent. As a result, it didn't demand a level of commitment that made it a number one priority and, during that time, Preston fell in love and decided to move to England with his then-girlfriend for a year - a wonderful woman who is now his wife and they have a beautiful child together, so I think it goes without saying that he made the right decision for himself. He had given enough of himself to his band and music and Endusk had run its course. After he returned to Australia, Rae had moved to America with her now-husband and they're still there to this day. 

Wes von Grabill (Bass), Noise Levels correspondence, 2024

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