The Bread Store
1716 J Street, Sacramento
Words & Photo by Josselin Bassaldu

Driving east through Midtown, I was on my way. With my hair pulled up in a ponytail, a college sweatshirt on my back and a water bottle in my bag, I was determined to be prompt to photography class.

A long, late night of work and an early morning of class had the guttural depths of my belly begging for baked goodies. Luckily, I just “happened” to be driving in the lane nearest to The Bread Store and was able to pull over and appease the craving for a crunchy-topped bran raisin muffin. Prompt? Psssssht, I made like a Parisian and embraced a laissez-faire approach to time for a pastry.

Walking up to the cash register, I looked over and was enthralled with the beauty before me. Who knew a cold, bright morning would be the setting to one of “those” encounters?

Never expecting such a serendipitous situation, I made an acquaintance Nov. 5 that inspired me to share my story with my dear Submerge-ists.

Through the groggy beginning of one of those sleep-in-Saturdays, the wonderosity of oncoming winter winked from the center of the glass shielded display at visitors of The Bread Store, with the glistening golden of an icy, orange confection, never before seen.

The large, center-staged tray was filled with orange bread, the gentlemen behind the counter answered when customers inquired. Oh, but it wasn’t just some measly orange bread, it was Orange Cobblestone Bread with vanilla bean bourbon icing. A quick sample made me feel like a purchasing pushover; I decided I needed two goodies.

Orange has almost always been a flavoring that kids would choose only after the red flavor (cherry, strawberry) of candies, popsicles and gummi snacks were gone. And to me, orange has been a second-class flavor. This only slightly sweet orange bread was unique, causing me to consider the folly of my second-classifying ways.

For $2.25, the nearly inch-thick slice of Orange Cobblestone Bread was doughy, had a great crust and was topped with vanilla bean and bourbon icing. It was French bread-like, but doughier, crunchy and sweet in places. The icing topped it off. The top of the bread was textured with escaped bubbles of dough that hardened and offered that melt-in-your-mouth crunch that glazed fritters have, with that vanilla bean bourbon of an icing blessing.

This “baked good” was so difficult for my culinary mind to understand. The hybrid bread was a melding of different classifications of meals, techniques and expectations. It was bread, it was breakfast, it was dessert; it was sweet and not so sweet. Uni-cultural fusion baking?

I had to hit the streets and figure out this culinary conundrum. Back at the source, Bread Store employee of two and a half years Lauren Cassavoy was on site. She put me in touch with the man responsible, head baker Kevin Reynolds, but not before raving about how much she loved the bread and still had half a loaf at home.

A five-year veteran at The Bread Store, Reynolds has spent 20 years in the business of baking. The Tower Café, New Roma Bakery and River City Brewing company are just a few of the Sacramento spots contributing to Kevin’s culinary credentials.

As it turns out, the Orange Cobblestone Bread was the result of a happy—and ingenious—accident. Kevin had to do something with leftover orange zest and orange essence from The Bread Store’s orange cookies. Since he had some scraps of ciabatta bread dough, he threw it all together, baked it in a pound cake tin and iced it for consumption.

When he made and tasted his creation, Reynolds realized, “People are going to want that.” He then admitted, “I was just trying to use stuff.”

Reynolds has begun to have more creative control, Cassavoy told me. A new schedule establishes a rotation of featured baked goods each second, third and fourth Saturday. But Reynolds will get to work his magic on whatever he likes each first and fifth Saturday. If the Orange Cobblestone Bread was any preview of what Reynolds has in store, I recommend marking your calendars for a trip to The Bread Store the first Saturdays of the month.

There’s no telling when the Orange Cobblestone Bread will return. It would all depend upon whether or not he has the basic ingredients are on hand.

With orange being such an essential holiday fruit, the time seems right. With inquiries from lots of interested eaters (that means you, Sacramento!), Andy Smith and other folks calling the shots at The Bread Store just might see the benefits of baking this bread for Sacramentans more often.

Screw Atkins, everything about bread says love. Everyone could use more love—especially if it’s zesty and sweet, like Orange Cobblestone Bread.

Sapporo Grill
1118 16th Street, Sacramento
Words & Photos by Josselin Basaldu

New restaurants pop up around Midtown occasionally. But let’s face it food fans, quite a few new eateries have appeared in the past year. Space is limited on the grid, and we’ve seen restaurant development begin to slow its roll—but not before Sapporo Grill Japanese Steakhouse opened its doors on prime Midtown real estate in the beginning of July.

This Japanese steakhouse, bar and teppanyaki grill nestled on 16th Street between K and J streets is, I learned on my visit through its wide open glass doors last Monday, a premium spot with meticulous attention to detail.

Admittedly, my knowledge of both steak and Japanese cuisine isn’t vast. But my server Erin informed me that Sapporo Grill has some tricks up its kimono sleeve. For example, all of their beef is the highest grade of USDA beef—USDA Prime. Sapporo Grill offers kobe beef that is actually raised in Japan, while most restaurants offer kobe beef raised elsewhere, like Australia, she said. And, many places offer ahi tuna (tuna from Hawaii), but Erin said Sapporo Grill has maguro tuna, also from Japan.

I started out with the nigiri maguro (two pieces for $4.50). The color was a lighter mauve than that of ahi tuna. I found the flavor to also be light, with a slight overtone of citrus. The texture was, of course, melty and the large pieces of maguro were lovely.

I ordered the filet mignon as my entrée. For just $24, which seemed almost too reasonable, the USDA Prime filet was served with yuzu mashed potatoes, a salad and a side. I choose Japanese cucumber salad, sunomono, and asparagus. The sunomono was clearly house pickled; not vinegar-y, quite sweet and wonderfully topped with toasted sesame seeds.

Yuzu is a small citrus fruit in which the rind is often used as a zest in adding flavor to foods, much like lemons. The yuzu mashed potatoes were a fine consistency. I had to reach to catch the flavor, because its starchy texture made finding subtle tastes more difficult. The small, delicate stalks of asparagus were grilled nicely. Plate presentation included a sprinkling of “Japanese spice,” a blend of ground red pepper flakes and white and black sesame seeds. It looked like allspice and overpowered the flavor of anything it touched. I recommend asking for this on the side, or to be removed.

Even with all the great sides, the filet mignon was shining star of the dish. And it was large. No question that it was a whole eight ounces and beautiful, with tasty char grill marks. The beef was well seasoned and prepared perfectly medium rare as per request—just the right amount of melt in your mouth tender meat in the center and just a bit chewy on the grilled outside. I was surprised when it arrived at the table and it was bacon-wrapped. Although filet mignon is often, but not always, prepared with a strip of bacon around the outside for flavor, the menu at Sapporo didn’t say the filet was served this way.

My early evening visit was nice, but I didn’t get to see Sapporo Grill in full sushi roll mode. But based on the quality of the food, service, décor and ambiance, if the buzz spreads about this place, it’ll likely become one of the “it” spots around Midtown.

The high, industrial ceilings and largely slotted, light wood partitioning walls give the restaurant an open feel. With large television screens, open seating couch area, glass VIP room, booth and table seating and facing teppanyaki/sushi bar and liquor bar, Sapporo has everything you could want in a restaurant. Late hours on Friday and Saturday nights with an in-house DJ make Sapporo into somewhat of a venue where Sacramentans can hob-nob until 2 a.m. Too bad there’s no stage.

Yeah, this place isn’t cheap; premium food and atmosphere will always cost you. You get what you pay for. But prices aren’t as pretentiously premium as one would think.

Sushi (nigiri, maki, sashimi and specialty rolls) prices are on par with other comparative area eateries.

Need an impressive place to take a date? Going out for a special occasion? Meeting up for a business meal? Getting dressed up and grab a drink? I do suggest Sapporo Grill. The little details are meticulous and brilliant and make the restaurant a wonderful metropolitan addition to Sacramento. Be prepared for metropolitan prices. But if you’re real city folk, you know it’ll be worth it!

More Real Than Reality

A slice of watermelon, a coffee pot, a steaming train; these things may mean nothing to you, but to the person on your left the same random objects could strike a nerve. In a good way.

Before heading to his current show entitled ABSURDA (an anagram of abstract, surreal and dada) at Inferno Gallery, Duarte graciously took some time out of his Second Saturday afternoon to speak with Submerge in his Midtown studio on topics ranging from “fast food art” to mocking reality.

Were you introduced to art at an early age?
I was born into a family of artists in South America. I am the youngest of seven; four of them are painters and artists. When I was 4 or 5 years old, I used to go to the art school with my brothers. I have no notion of anything else, I don’t know anything about accounting or medicine it was only art in my house. I had no choice; I had to become an artist.

Now that you’re a full-time artist, do you think of it as a regular job the way most people think of their jobs?
Yeah, it’s just like when you’re a monk or something, you cannot be an 8-to-5 monk [laughs]. I try to paint, draw and do prints daily. I go home, I sketch. If I’m at the studio, I sketch. Even if I travel, I sketch.

How did you come to settle in Sacramento after spending so much time in the Bay Area?
When I had kids somebody told me, “Davis is great.” Basically that was the first move years ago, back in ’80-something. I got divorced and moved back to the Bay Area but my kids were here, so they were the main reason to be in this area. Eventually I started working more in Sacramento and knowing more people. And when the economy is so crazy in San Francisco that not even the mayor can pay his own rent, they push you out: From San Francisco to Emeryville and from Emeryville to here. You pay per square foot [for a studio], so I told the guy, “Give me a square foot, I’ll do a 1-foot by 1-foot painting [laughs].” They brought in all the dot-comers and heavy industries. This is what happened everywhere I had been.

Back in ’05 you were quoted saying, “I see a lot of potential in the Midtown area.” Now that it has been a few years, what are your thoughts?
It’s amazing, it’s getting better and better. I think Second Saturday is a little bit cuckoo. It’s becoming what I call “fast food art.” But it’s good; at least it brings people out in the streets. What the people need to learn now is to divide the art, food and music. Sometimes people go into the galleries just like it’s a meat market for the wine and food and that’s it. Art becomes secondary. It still has great potential, though.

Is that why you had the ABSURDA reception before this Second Saturday, to avoid the crowds and the madness?
I did the opening last Friday because tonight I don’t think I will have time for buyers. People came from the Bay Area mostly, along with friends from Davis and friends from here. I like to be with them for one particular day without the whole crowd because I start to lose it. I don’t like openings anyways, but I do it because you have to do it. It becomes like a zoo, you’re like an animal in a cage and they analyze you and check your work. Now what they need to learn is to really understand art. People spend $200 eating sushi but won’t spend $300 on a print that will last forever. It’s an investment for yourself and for your future. Every time I sell something, I invest more than half of it back into art.

So you consider yourself an avid art collector then?
I have over 65 pieces. If I don’t do this stuff, who is going to do it? If you’re a musician, you buy music, you know? If I’m tight on money, I still buy art. It’s important.

I’m curious as to how you would explain your artwork to someone who had never seen it.
In words it’s hard to say. But I would say that it’s just mocking reality a little bit. I try to make a painting more real than reality sometimes, even if it doesn’t exist. I love the metaphysical or surreal point that you fake reality in a way. Reality can be anything but I like to play with the ambiguousness of reality and non-reality. You have to understand I was born in a town in a country where reality was so crazy. You can walk down the middle of the street and see a horse walking by.

When you’re painting are you thinking about how the piece is going to make people feel when they see it? If so, does that affect your work?
Yeah, sometimes when I’m painting I have this brainstorm in my head about everything, except money, honestly. I am even thinking about the person who is going to frame this work. I am thinking about how is it going to be looked at, how would it look upside down? What are the people going to think, what are they going to say? Painters forget about this, they become so involved with the painting, and that’s good but at the same time you have to think, “How are people going to react to this?” I’m not trying to please everyone and I’m not thinking about if it’s going to look good or bad in their living room, or if it’s going to look bad in their office. I don’t care about that. But I do care about feelings.

Sacramento Designers Look to Remove Small City Stigma

Words by Michaela Pommells
Photo above by Nick Avey

If you haven’t been a part of it, you may not know Sacramento’s fashion scene is as alive as it is. It reaches far beyond the chic boutiques on the Midtown grid. A dynamic class of needle and thread craftsmen make up a strong community of local designers. Yet, while they wipe sweat from their brow in the name of fashion, they can sometimes be overshadowed by the stigma of working in a smaller city.

The truth is Sacramento is home to artistic talent defined by relentless creativity and eccentricity. Here to relinquish the unaware from what some may perceive as local fashion doldrums are three capital city designers. Here are their insights on the local fashion scene and how they plan to breathe life into it.

Trisha Rhomberg is part of the local fashion scene’s legacy and future. Originally from St. Louis, she has developed strong roots in Sacramento. A self-taught seamstress, she began creating and selling her garments out of recycled materials while a studio art student at Sac State. In 2003 her clothing line, Pretty Trashy, was birthed in a downtown garage. She began selling Pretty Trashy at Olipom, a Midtown boutique owned by Olivia Coelho. Five years later, Rhomberg co-owns popular vintage boutique “Bows and Arrows” with Coelho and sells Pretty Trashy in over a dozen stores across the country and one in London.

She describes the current conditions as “Slowly rumbling…small tremors before the quake. Lots of talent [with] little things happening.” You’ll find no disillusionment in her voice as she describes what needs to happen to stimulate the local crowds.

“We need bigger venues to get involved, enough talent to fill a theater, enough support to fill the seats,” Rhomberg says. “Shows need more respectable stages. We have to reach out to the people who may not seem to know or care what’s going on in the little Sac fashion world and take a chance. You have to go after what you want. I’ll go get them. I’m going to find a bigger prettier stage to display our works of art.”

Incorporating a plethora of local artists to infuse their talents in the streets of Sacramento looks to be Rhomberg’s mission. She has linked with other local artists such as Lacadia Olson of Cuffs Urban Apparel and Deeda Salon, among others. She’s participated in innumerable local fashion shows with more in the works. She’s a likely candidate to lead the budding fashion scene in Sacramento.

Benzo Couture Photo by Jeremy Scott

To help further the crusade is Mercedes Ben, owner and designer of Benzo Couture. She officially began her fashion career two years ago. An apparel design student at Sac State, her ambition stretches far beyond the city limits.

Ben’s short presence on the local front doesn’t come with little experience. She’s lived in a handful of major cities before coming to Sacramento. She speaks of her time spent in New York, Los Angeles and Denver as the force behind many of her creations. The relationships she has formed through her travels allow her to display her art to many audiences. She will be showing her work with Betsy Johnson in an upcoming show in Denver.

Ben has seen a lot of change since hitting town. She watches with a close eye as more local designers emerge, striking interest with local boutiques and residents. She sees fashion events getting more crowded and respected. Ben’s sentiments are not unlike Rhomberg’s. Ben believes local designers can form a more unified front.

“I believe people love seeing the shows but there is still a lot of work that Sacramento and our small design community has to do to ever get it to the level of much larger cities,” Ben says.

Benzo has her sights set high. Her enthusiasm is seen in her efforts to expand as an international brand with results benefiting Sacramento.

“I will always show in Sacramento, but in order to put Sacramento on the fashion map, the rest of the world has to be exposed to the talent that is here,” she says.

Designer Jesus Medrano Photo by Andrea Telles

Whenever an industry is in need of change, hope often lies in its youth — not youth represented by a numerical digit but instead the kind that’s refreshing, unpretentious and optimistic. That is precisely what you will find in Jesus Medrano. He sees so much potential in Sacramento’s future he refuses the notion that it’s at all dull.

“I see Sac as the next L.A. or San Francisco,” he claims. “Soon designers from out of town will want to come here. All it needs is everyone to believe in it. It can be achieved we just have to change a few things. And I feel it’s happening already.”

Born in Mexico, Medrano comes to Sacramento from Los Angeles. His love for fashion was developed as a youngster by watching his trendsetting sister. He equates much of the slow-moving fashion scene to a lack of designers appreciating its art form. He wants local designers to get the communities feet wet with innovative shows and practical designs.

“Let’s not scare everyone with crazy fashions, let’s give them stylish wearable garments,” Medrano explains. “I think some Sacramento designers are pushing people’s interest away with things that they might not understand yet. I feel that if we want Sacramento to become addicted to fabulous fashions we have to give it to them in small doses.” Medrano realizes a hunger for fashion around town and has every intention of harvesting his fashion career in Sacramento.

Sacramento’s fashion scene undoubtedly has a steady pulse. Yet, so much talent lurks in the city’s streets waiting to be uncovered. An alliance between artists, local business owners and community members appears vital. These designers each have the potential to be Sacramento’s white knights. Those of us waiting for everyone else to get on board will have to put our faith in their hands.

Blue Turner

There I was, chillin’, maxin’ out, “lurkin’ hard” in a limo, drinking a Red Bull Vodka on my way with the Red Bull Sacramento Crew to swoop up some of the nastiest local skateboarders in the 916. I knew it was going to be ill. I mean, shit, we’re in a limo, so I sat back and waited for the madness to ensue.

Rob Mason

We pulled up to the old Flatspot skate shop downtown and saw a dozen or so sweating kids skating flat ground awaiting our arrival. The limo driver, we’ll call him Dan, got out of his driver seat and opened the door, allowing everyone in. “Beer me” someone exclaimed, as an ice-cold one got tossed into his hands. “Do you have any CDs?” I replied to the dude clutching the beer and almost before I’m finished I get a sarcastic reply, “Yeah”¦see deeze nuts!” I should’ve known not to give him such a golden opportunity. After a few quick laughs we all saddled up, cameras and lights chillin’ in the back, and headed over to the first spot: Granite Skate Park off Power Inn Road. Although there was nothing NSA about skating the biggest park in all of Northern Cali—our crew just needed to warm up and get their bones loose on their home turf.

So we pulled up to Granite like straight pimps. Everyone piled out of the limo to skate the park and immediately everything was getting destroyed. These skateboarders were killing this park, literally, name a trick and it was laced. After about an hour of the park, a few flip tricks over the double set courtesy of Kyle Duval, and stenciling all the local groms’ decks (www.redbullskateboarding.com), we jumped back in the fly mobile (Dan’s limo) and headed to some gnarly 11 stair at a school in Fair Oaks, Calif.

We pulled up to this handrail, and it was pitch black. As soon as Danny Boy let us out, I realized we were in the fuckin’ suburbs somewhere and we were being mad loud. I gave it 15 minutes before the cops showed up. With this in mind, we quickly set up the lights, and they got to work. After a few warmup ollies, things started getting dope. This little man, Blue Turner, was destroying it: backside smith grinds like it was his day job. Then next thing you know, Rob Mason barreled through and started trying to backlip the damn thing. It was dope; the Lurk Hard homies were representing.

After another hour or so, we jumped back in the limo and headed over to Ink in Midtown for some grub and drinks. An hour or two, a few drinks, and a chunky meal later, we were ready to peace out.

All in all, the night was an unforgettable experience. Big ups to Armain Austin, everyone at Red Bull, Lurk Hard and everyone who was along for the ride”¦thanks for a dope evening! And remember, NSA is only a state of mind.

By Brandon Brown
Photos Courtesy of Joe Poinski

Ex-Sacramento rock band Bridges has a new name and a new EP

As wildfires burn throughout California, carpeting the skyline with smoke, Seattle rock band By Sunlight (formally known as Bridges) are in the middle of a two week long west coast tour that will bring them to The Blue Lamp in downtown Sacramento on Saturday July 12. It’s only a few days into their trip and Mike Sparks Jr. (vocals/guitar) has already made a trip to the emergency room thus leading to a cancellation of one show. Don’t worry though, he says he is OK, “I got some medication and it makes me feel like a crazy person so we’re good to go.”

With a new name and a new self-titled EP available online and at shows, By Sunlight is looking forward to a bright future. Submerge recently spoke with Sparks before playing a show in southern California.

So I read you guys recently changed your name from Bridges to By Sunlight. What’s up with that? Was it a tough decision?
It was definitely a tough decision I know that none of us really wanted to do it. Unfortunately as boring as it is there’s a band called The Bridges that put out a record on Interscope recently and it was kind of one of those things where we just felt like if we wanted to take ourselves seriously we would have to at least kind of watch that and keep that in mind. We didn’t want to get hit with some crazy lawsuit in like six months, you know?

Yeah you always hear crazy stories about shit like that happening. Bands get pissed if someone has their same name.
For sure, if you go to their Myspace page, it’s pretty funny. The Bridges are like some kind of alt-country girl band or something. They’re like the Spice Girls of alt-country or something [laughs]. We just didn’t want to fuck with it.

How do you think fans and friends are going to react? What has been the overall vibe of everyone’s reaction?
I’d say it’s kind of all over the board. To be honest with you we got a pretty fair amount of negative feedback.

Really?
Yeah and this is something that we have kind of discussed: change is kind of hard. You develop a relationship with a band, and then they do something that you aren’t immediately behind so of course you’re going to be like, “Man what are they doing?”

We put a lot of thought into it and I think that this record that we’re coming out with is probably the best thing that we’ve done. Jack [Clemans, bass] said it like, “You either have to grow with us or not.” It’s just a band name; you know what I mean?

Yeah I want to talk about the new record. Does it have a title?
It’s going to just be self-titled. We mulled around a couple ideas but I felt like it was cooler to just not title it.

Is it considered an EP or is it a full length? How many tracks does it consist of?
Yeah I don’t know actually that’s another logistical question we have been mulling over. It’s six songs, but it’s forty minutes. If it’s a length issue I think I would definitely call it an LP but if it’s a track number issue than it’s definitely an EP. I don’t know, we’re describing it as an EP. We went in with that intent and it kind of turned into something more than we anticipated.

When and where will it be available?
Yeah, we’re doing something kind of new. We’re not pressing CDs, we might press some, like 100 or something. Or maybe we’ll press some vinyl; I would much rather do that.

We’re doing this thing where you get this little card at our show for $5 and it’s about the size of an ID. On the back of it is a little code and a Web site. You go to the Web site and enter in the code and you can download all the songs in like three different formats. You can look at all the lyrics and see all the credits and all that kind of stuff.

It’s a very innovative approach. What was the inspiration for that?
There’s a band in Sacramento called Bright Light Fever that we used to work with all the time. We’ve been friends with them for a really long time. They called and said, “Hey I think this is what we’re going to do. We want you guys to jump on board and the two of us can try it and see if it works.”

That’s where the business is going. Everything is digital right now, you know?
Absolutely, I can’t see any reason not to. Especially if you factor in gas prices and pressing fucking 1,000 CDs is like $1,500 or $2,000. It’s not a little bit of cash, you know? So this way the cards will be cheaper, it just makes more sense. Maybe it will help get the music out there on a different level.

I want to talk about your move up to Seattle. How do you like it up there and how is it compared to midtown Sacramento?
That’s a good question. I think all of those counter culture heavy pockets in any city are kind of similar. I really like Seattle man. It could be something as simple as the fact it’s a lot less hot [laughs].
It’s a really music oriented city. I feel like if Sacramento had a little bit more of a chance it would be like Seattle because there is such a core in Sacramento of kids. That tight knit sense of community that there is in Sacramento is unbelievable and I haven’t really found it that particular way anywhere else. If there was something close, I think Seattle is very similar to that. Obviously though the Seattle music scene is a Leviathan man, it’s a pretty serious machine.

Were you well received up there? Was it an easy transition?
Yes and no. It was easy just because I think we were so focused on it and accepting all that change at once that it just felt really good. We’ve met some cool bands that we really like and we’ve made friends. But it feels like there is this big shell you have to crack into. There are people who have been up there in that town for 10, 15 years, you know? It’s hard. You can’t just like come in and get it. In that respect, it’s a little tough. I would say half the shows we’ve played were really, really good and half the shows we’ve played no one was there. It’s like starting over.

I read you tour blog yesterday and it seems like things got a little rough for you a few days ago? What happened and are you fully recovered?
I’m doing OK, I’m better. We took that drive down from Portland to Chico and I don’t think I’ve ever experienced anything like that in my life. It was like 100 degrees and I’m sure you know that California is like on fire. It’s ridiculous. It was like being inside of a smoke filled oven for nine hours. So we played in Chico, and it was a great show. I love Chico. We drove from Chico to Sac that night, and I was just laying down and I started feeling really severe abdominal pressure. It got really bad to the point where I was panicking a little bit. It felt like I had appendicitis basically. So I went to the emergency room the next day.

Is your set on this tour consisting mostly of new material? Can people expect to hear old stuff as well?
We are basically playing the new EP in a different order. What we’ve done for the last couple years is we just play our set seamlessly without stopping. We have been playing those old songs for so long, like for instance “Consciously Cornering,” we must have played that song every show for like two and a half years. It’s just a rebirth; it’s something new. It’s a new EP and a new band name.

You were in the band Mister Metaphor, and now Bridges for the last couple years. Do you view By Sunlight as a third entity? Is it enough of a new direction/progression to be considered a new band for you?
I definitely don’t consider it a new band. It’s just a new labeling of the band. It’s just for logistical reasons. Trust me man, saying goodbye to the name Bridges has been really hard. Not like emotional-pow-wows-every-night hard, but it sucks. But, you know you have to at least try to think of it positively. I like the new name.

So what’s next for By Sunlight?
I’d like to make it through this tour without dying first, that’s a good goal. I think we’re going to go out for two weeks every couple months for the next six months to a year and in the interim start writing new stuff. This new EP has showed us exactly what the four of us are capable of doing as a band and we’re just gonna keep doing it!

Stay up to date on By Sunlight visit Bysunlight.com