A Carnage in the Lovetrees began as the kernal of an idea in Las Cruces, New Mexico, in 2010. J. Young began to craft songs for a record, but with no plans to start of band, began to build a backstory for this fictional band--in 2011, J. Young finished the first draft of a screenplay about this band he called, A Carnage in the Lovetrees, which was borrowed from a Las Cruces friend, Richard Greenfield's first book of poems of the same name. Pre-production of the script began as a typical approach, but as the film's production delayed, J. Young kept building the band's history, catalog, experiences, and even began crafting a visible narrative--performances through social media, video media, live performances as Carnage.
The project, started in 2010, is an attempt to interrogate the blurred lines between fiction and non-fiction in art. Project co-creator Joshua Young has been working with and publishing hybrid forms for a decade, and began to explore multi-disciplinary approaches to his work. Pushing back against the common held belief of “Jack of all trades is a master of none,” Carnage is a project where artists push the boundaries of genre and form to create a wide-ranging text of intertextuality, collaboration, and hybridity.
Three Foundational portions of A Carnage in the Lovetrees:
- Music & Band. Including a discography; online presence (social media, bandcamp, etc); music videos, merch, and promotional materials; live performances; interviews and reviews; and more.
- A documentary feature film, directed by Haley McVay and produced by Avielle Heath, capturing an indie band attempting to make a dent in the music scene. Though the band is fictional, the music and interactions are real. What is captured in this documentary informs the capstone of the project: A Fictional feature film.
- A dramatic feature film, directed by Caleb Young and written by Joshua Young, focuses on the band post-tragedy. The surviving members return home attempt to cope with loss and grief colliding with the band’s sudden posthumous popularity brought on by media coverage following the tragedy. The film will be cast with working actors, as well as musicians associated with the documentary.
Because of the expanse of the project our audience is diverse: Artist, creators, filmmakers, musicians, writers, indie rock fans, journalists, cineaphiles, and more. The one guiding principle is that this hybrid and/or multi-discipline approach to art creates an automatic cross pollination of interests, producers/makers, and audiences.
C Young Creative has self-funded the majority of the project, and has solidified creative partnerships to defer the cost of production/creation. Collaborators include Clickpop! Records, HankCrank Film, Plays Inverse Press, Columbia College Chicago (past), Anacortes High School, Cascadia International Film Festival, Northwest Film Forum, Nook Collective, Keaton Collective, Pickford Cinema, and others.
With a grant from the Reva and David Logan Arts Foundation, J. Young hired documentation, Hayley McVay, to finish crafting a faux-documentary of the band and its leader, along enlisting artists, writers, and other filmmakers to continue making content for the project, include graphic design, paper arts, video work, music, screenprinting, and more.
The band / the Music
Content / Materials.
Directed by Hayley McVay, Produced by C Young Creative, J. Young, and Caleb Young.
Chronicling the period before the release of Carnage's third record--J. Young's attempt to give it one last go as a band, navigating the world of digital media, premiere culture, and the cost of affording a band, alongside his day job and family life.
The capstone of the project is the feature film and it's marketing campaign.
All previous material is fodder for the actors and filmmakers, and set the path for the film--though the narrative is set, the motivation, approach, and behavior is modified by the previous materials.
The film's progress (the experiences within the diegetic space of the film) will be fed back into social media and other modes of content, and the different parts of the project begin to influence the other. The filming will cultivate a real-time response to social media, journalism, and other forms of media, including those outside the control of the artists.
Following the production's wrap--media presence will continue strongly until two week prior to the release of the first teaser trailer. All social media and media will go dark. A coordinated cycle between the label, the filmmakers, and artists, will lead to the teaser trailer's release.