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The human experience is marked by a seemingly futile desire to exert control over a world that is almost entirely out of our hands. This is amplified even more when we’re kids, at the mercy of our parents’ decisions.

Ever since he was born, Abhi has had to pack up and move against his will, necessitating “The Nomad” modifier that adorns his name. Because of his dad’s job, his family moved 8 different times in 18 years before he finally achieved enough autonomy during his college years to settle down in Thousand Oaks, California. A list of the places Abhi’s lived reads like a travel blog’s wet dream: Madras, India to Beijing to Hong Kong to New Delhi back to Beijing back to New Delhi to the Fiji Islands to New Delhi again before arriving in Thousand Oaks, California. Throughout all his travels, he kept a certain set of songs with him, becoming the skeleton for his forthcoming LP Marbled.

Thanks to a Student Visa at Cal Lutheran University, Abhi finally felt like he had a place to call home. He met his now-girlfriend Sarah there, lived an hour out from the entertainment capital of the world in Los Angeles, and even got a job at a recording studio to hold him down while he was building his online following as an artist with popular songs like “Floors” and “Underdog.” Throughout this time he continued adding songs to Marbled, incessantly tweaking and fine tuning his existing selection.

Yet Abhi was reminded of how much we lack true agency over our lives when, despite all that Abhi had built in Thousand Oaks, he was forced out of the country because of immigration laws. The way the Student Visa worked, it was stipulated that to stay in the country, Abhi needed to graduate Cal Lutheran, find a job in his field of study (which he did), and only then would he be able to enter a lottery that would determine whether he could stay in the U.S. Unfortunately, he lost the lottery, and was abruptly shipped to India.

By this time, Abhi was buzzing enough on Spotify & Soundcloud to scrape by in Lille, France. It was here that he signed to iconic record label Tommy Boy Entertainment (Ghostface Killah, Method Man) and started gearing up for his first ever album release. After a co-sign from Ebro Darden on Beats 1 Radio, as well as a spot on one of Tyler Oakley’s playlists, his music life was thriving–his social life, however, was not. Of his experience in France, he said, “I had just moved away from my girlfriend and my friends, and my full-time position had to push me out. It was shitty. My girlfriend was pretty much the only person I talked to.”

He desperately tried to find a way back into the U.S. and to wrestle back some semblance of the freedom America was built on, and through another Student Visa, this time for grad school, he’s been able to arrange living with his girlfriend in Austin, Texas. But this is just a stop-gap solution, another chapter in the travel book of a man who’s never wanted to move in the first place. He still has to play the same lottery he’s likely to lose. Now, his best bet to stay in the country is a Talent Visa, notoriously hard to get for even successful creatives. Immigration lawyers say you need a prestigious award (like a Nobel Prize or a Grammy) and a major publication cover story to even have a case.

Thus, this set of songs is more than just a debut album. Marbled is the culmination of a long road spanning more than 10 cities, 8 states, and 4 countries. It’s the only person, place, or thing Abhi could rely on, the only friend he had with him at every stop. And it represents his best chance to achieve the elusive stability he’s been longing for – that we all long for – ever since he was kid from Madras, India.

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“[Abhi] masks his moody truths behind synth stabs and muted trumpet riffs that echo his penchant for late-night party binges.” – NPR 

“An intoxicating balance between catchy and swagger, making use of acoustic guitars and drum machines in equally successful measures.” – Consequence of Sound

“A multi-instrumentalist force of nature.” – Mass Appeal

“Funky, groovy… each individual line takes you by surprise at just the right time.” – PopDust

“Effortless and flawless.” – Cool Hunting 

“Wraps the best of indie and the best of hip-hop into a fresh and radio-ready package of catchy grooves and effortless swagger.” – Atwood Magazine

“Funky, lyrical and slightly weird.” – Hot New Hip Hop

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Duncan Barlow’s music career has always been driven by raw emotional expression and intense passion. His work with Louisville hardcore pioneers Endpoint exists as a cultural touchstone for Midwestern hardcore, and helped place progressive politics and allyship in the Kentuckian punk conversation. On his new LP, Colony Collapse, Barlow turns that emotional intensity inward, exploring depression, and the absurd comedy of heartbreak through shimmering, psychedelic guitar-pop. Barlow self-produced and engineered Colony Collapse at his home studio as a means of processing a particularly tumultuous time in his life. 

“When I started writing Colony Collapse, it was as a reaction to some personal turmoil,” says Barlow. “I found myself very depressed and frustrated with my life at the time, but in a way that I couldn’t really do anything about. So rather than mope I just put all of my energy into doing these home recordings and things developed from there.”

Once the groundwork had been laid, Barlow rounded out the album by bringing in some of the friends he’s made over his years in the music world, including Jason Loewenstein (Sebadoh) on bass guitar, and Joe Plummer (Modest Mouse, Cold War Kids, The Shins) on drums, as well as mixing engineer Colin Bricker. Those who are only familiar with Barlow from his time in Endpoint and the Victory Records-signed hardcore bands Guilt and By the Grace of God, may be surprised by Colony Collapse’s sparkly jangle-pop, but the change comes as a natural progression for Barlow. “I’ve always been interested in the outliers and progressives of the music world, and the artists that were able to walk in two worlds,” he said. “Even when I was heavily into punk, the bands that struck me the most were always the ones that weren’t playing it down the middle. Over the years I’ve played folk, rock, electronic music, ambient stuff. I’ve just always wanted to find new means of expression.”

Colony Collapse is its most affecting as a vehicle for the confusion, frustration and hopelessness that accompanies both clinical depression and heartbreak. These sensations are most poignant on the album’s closer “Winter, Winter, Always Winter.” Written in the wake of Barlow’s father’s passing, the sparse, atmospheric track viscerally captures the isolation of grief and the bleak uncertainty of wondering when happiness will return. Elsewhere, on “Again, Light & Spectre,” Barlow captures the paralysis of heartbreak atop layers of dreamy synths and waves of effect-laden guitars and reverb-washed backing vocals. Though the subject matter remains emotionally raw, Barlow takes moments throughout Colony Collapse to step back and marvel at life’s absurdity, such as on the tongue-in-cheek, “What’s The Point,” in which he comedically reflects on the pain of heartbreak and how ridiculous our romantic pursuits can be. “This record looks at that feeling when you’re heartbroken and it hurts and you kind of want to be sucked into that sadness, but also just how ridiculous it is,” says Barlow. “It’s so over the top, but the over-the-top aspect is part of the comedy of it.”

Barlow’s musical career took off in the Louisville, KY straight-edge hardcore scene that served as a precursor to the emo boom of the mid-late 90s. His band Endpoint garnered substantial regional success that allowed them to repeatedly tour the United States and Europe, and eventually establish themselves as genre trail blazers that would later be cited as influences by bands like Taking Back Sunday and Fall Out Boy’s Pete Wentz. As his time in the hardcore scene wore on, however, Barlow, battling with a worsening diagnosis of depression, became tired of scene politics and desperately needed change. He began to feel trapped in Louisville and eventually shifted his focus to academia, eventually becoming an English professor at The University of South Dakota and writing multiple novels. Though he has continued to write and record music throughout the years, Colony Collapse—the first record to be released under his own name—marks Barlow’s re-emergence as a songwriting powerhouse.

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“[Colony Collapse] may best be described spiritually song by song, as the alternative, americana, and indie elements range from savvy, happy, and cool in the opener, ‘Le Seul Amour’ to brooding chill in final track, ‘Winter, Always Winter.'” – QRO Magazine