A CARNAGE IN THE LOVETREES is a collaborative multimedia project utilizing post-genre/hybrid approaches to making through various art-forms, genres, and modes of art-making.

A Carnage in the Lovetrees is a collaborative multimedia project created by Joshua Young. 

In 2017, it was awarded a grant from the Reva and David Logan Arts Foundation to complete one stage of the project.

Co-Creator, Joshua Young, has been working in multi genres and disciplines for over a decade, and his work with hybrid forms have produced 6 collections published by small presses since 2011. Co-creator Caleb Young has been working in film and video production since 2006, and has made numerous features, short films, documentaries, and music videos, as well as 100s of commercials and marketing content. With Joshua’s creative approach to multi modes of making art, Caleb’s experience running film and video productions, and their connections to the indie and DIY scenes including, music, film, literature, and more, they are well-equipped for this project. This project began in 2010 and with a target goal to complete the project by 2017, 7 years of working on this project has prepared them from the final three years, and execution of the final stages.

A Carnage in the Lovetrees utilizes collaboration between artists working in film, literature, journalism, music, design, and more, as well as professionals. The project is viewed as an umbrella where the co-creators control the overall production of the project, and recruit and solicit work from other artists to bring their perspective to the project. The project began as the internet was still a new mode for indie-art promotion, contact with audience, and communication with professionals. Myspace was still relevant for bands; twitter was not yet vital; and podcasting hadn’t proliferated. An artist's platform was still limited in many ways. 

The project attempts to understand how musicians survive and thrive in this digital era: finding the right venues for features, interviews, reviews; growing a fan base online vs. touring. How do the current practices of premier culture change how records are heard. But at its core the project is an exploration of collaboration, multidisciplinary-work, and intertexuality under one unified project with numerous appendages, under three foundations portions: Music/Band, Documentary, Dramatic Feature Film.

The collision of the three parts is tied to a social media campaign—record promotion, music videos, and tour dates (fictional)--and upon the release of the drama's first teaser trailer, all social media goes dark. This coordinated and iiii plan  leads to the capstone operating as the final chapter of the project's narrative. Our hope is to capture the depth of the characters captured in the film by offering a map to the moment the band began to exist in the world. Though the band was created as a fictional tool to harness a project for multimedia artists to blur the line between its intent and reality.