• Press / Promo Material

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• BIO

The pairing of Matt Bones and Samy.Language is one that works well throughout as the former offers well-paced singing verses that interplay with Samy’s fervent flow that tends to dip off into unexpected asides and diagonal wordplay.

Bonelang aims to celebrate and nurture self-awareness as a means for strengthening communal, familial, and romantic relationships. The work forces the cultural cherry picker to look within, digest one's own flaws, then redefine one's outlook with a more full-bodied disposition of compassion, empathy, and love; Samy & Bones included. Bonelang asks to focus more on what we have in common rather than what we do not.


• Secondary / Extended Bio

One is crafting the message and the other is building a bridge by which it can be sent. BONELANG’s dichotomy – that of
Samy Language and Matt Bones - is what makes their music so palatable for such a broad audience. Their laid-back
flow does not fit into any of the standard ‘boxes.’ Their hometown paper, The Chicago Reader, said "Their flair for piecing
together unusual sounds and shifting their flows with a natural precision..." Pigeons & Planes describes the sound as
“...the sort of hypnotic listen that feels a modern outgrowth of hip-hop’s early fixations with jazz… that hints at a taste for
the psychedelic (it’s reminiscent of a softer-around- the-edges take on the Fear and Loathing musical cocktail of lost
psych-rock- rap greats New Kingdom).” Essentially, the duo combines creative wordplay and meticulous construction to
create their revolutionary material.

A first-generation American with Egyptian and Irish immigrant parents, Samy is thankful for his “endlessly gorgeous” life
of travel and education. Poetry became a passion via this education. Samy says “Frank O'Hara taught me that poetry
wasn't completely rooted in convention the way other forms are. I responded to that. I found therapy in being able to
simply write from the heart and stylize however I please.” The Chicago poetry scene is small and healthily competitive in
his estimation. “I'll never forget reading for the first time at the Green Mill. It was intense. A professor of mine (and
mentor still to this day) Mark Turcotte brought me as a 20-year- old kid and I read in front of a packed room. At the Mill,
it's not rare for the audience to boo you off stage if they don't like what they hear. Thankfully they dug whatever I did and I
came out unscathed,” he explains.

To Samy, creativity is not some exclusive thing meant for ‘special’ kinds of people. “We have this song on Venn Diagrams, Pt.I called “Everybody's Synesthetic” and it's an important song. What we mean when we say "everybody's
synesthetic" is that everyone's operating on the same playing field when engaging with art,” he explains. Great art should
be accessible to everyone and nobody is more special because they can create that way in his view. “All good art should
make its audience "see mood" or "feel color." These aren't instances of divine intervention. These are instances of
intentionally triggered response to aesthetic. We've been conditioned since birth to react certain ways to particular chords,
or color schemes, or images, so when I was first considering the functionality of our brand Bones and I spent about a year
considering what we wanted our world to consist of. Every piece of work that will ever roll out from BONELANG will
always be rigorously finessed in the name of further three dimensionalizing the environment for our music to function
within.”

Samy and Bones are able to work in a seamless fashion because of their distinct approaches, but similar mindset. Bones
adds “One thing that's really useful is that since we grew up together, we have a lot of the same artistic influences. It's
pretty rare one of us thinks something is really cool and the other hates it. It's nice because it cuts down on how much you
have to give up to reach a middle ground and it gives you kind of a shorthand for speaking with each other drawing on
common examples.”

His dad being an electrical and computer engineer as well as an all-around handy guy, explains Bones’ technical
inclination. “He's the first person I consult when I'm having trouble with a design or something,” he says. “I remember
going to a summer program called ‘Camp Invention’ which was basically just organized tinkering. I always had my head in
the recording section of music catalogs even before I knew consciously that that might be something I wanted to do for a
living.”

Bones also has an interesting point-of- view on songwriting and those exclusive creatives Samy spoke of won’t like this
either. “Writing a song is like engineering anything - like building a bridge or something. There are tried and tested
techniques that will help you get where you're going and ways of arranging that are better at transmitting or eliciting the
emotion that you want to. The more you understand the "architecture" of music, the easier it gets to achieve what you were
shooting for,” he says. “If you don't understand how chord movement works, it doesn't matter how in love you are, you're
gonna have a really difficult time broadcasting that emotion in a song. People get a little uncomfortable if you imply that
the most inspired and inspiring musicians of their time were designing things in the same way that someone designs a
steel building, but it's always true. They're always using techniques that someone else developed whether they know they
are or not. The major and minor scale are thousands of years old and we're still using them because they work.”

The concept of "building a song" belies how laid back the music can be on VENN DIAGRAMS. Atmospheric, eclectic
music that defies precise definition, BONELANG packs a lot into each construct. From the bursts of raw emotion in
“Mushroom Moon” to the smooth vocals and trippy instrumentals on “Michelada,” each BONELANG track will reveal
itself in different ways to different listeners.