Artist Profile: Jhnchristopher.
Jhnchristopher., the Chicago-based visual artist and enigmatic rapper, has been chasing a feeling of spontaneous creation since he was a child, utilizing his innate talent for drawing and painting and his keen interest in music’s capabilities of expression in order to convey his deepest vulnerabilities as well as his greatest triumphs.
As a child, he would sit in church, arms crossed and his head down, and tune out the pastor entirely, instead waiting to listen to the choir and the way in which their voices would echo off of the chapel’s wide spatial arrangement. When prompted to pick his head up by the adults around him, he would instead focus in on the stained glass and paintings that populated the walls of the church.
As he grew older, he began competing in art competitions across the country, through which he found not only validation but also opportunity, growing in his artistic confidence and technical skill.
In high school, he took what he considered to be the logical next step in his artistic explorations: making his own music. Influenced by the vulnerability and raw openness of artists like Tyler, the Creator, he set out to design soundscapes that emulated the purity and depth of his paintings, in the process strengthening his own understanding of the emotional wanderings present in his art.
He learned to approach music the same way he did painting, with a strong degree of improvisation, centered around a deep belief in creative attunement with the universe around him.
“As much as things can be calculated and strategic or you’re trying to perfect something, within all of that it's still all improv in a way; even just the first thought that you have [is often the most important]. I believe in improvisation and a cycled ascension in a way; [I believe that] it’s all been written beforehand.”
Out of his three projects from 2021, mr. toby, Feb5*, and FROM TODAY, it is the latter of those, in the crushing depths of its soundscape and the artistic heights of its lyricism, that most accurately represents Jhnchristopher.’s capacity for intense rap that adeptly captures the reality of his life and personal situations.
From the haunting arrangements of “Fuge#1” to the collapsing rhythms of songs like “Decompose”, FROM TODAY encapsulates the wide spectrum of Jhnchristopher.’s talent: the simultaneously bruising and open method through which he communicates with his audience.
Now, as he works toward his next project, one that he intends to capture the last four years of his life in as complete a form as possible, he continues to integrate the interplay between his music and his visual art to an even higher degree. As the album nears completion, he has begun work on a series of paintings that extrapolate upon the project’s theme of time and vulnerability that will culminate in an exhibition in conjunction with the release of the album.
As Jhnchristopher. continues to navigate these waters, his raw creative drive and energy imprint a special dynamic upon every creative act he pursues, and, as he continues to grow in the interplay between his two mediums, his work will be something special to watch.
“I'm growing currently, and I definitely always feel like there's fluctuations and distance [between the two mediums]... and then there’s closeness and just learning and unlearning and relearning the values of all of this art in my life.”
Vivian, the Brooklyn-based shoegaze band, operates with a certain intentionality and clarity of sound that is informed not only by frontwoman Christine Bee’s years of experience in the New York rock scene but also by the unique and interminable contributions of each of her bandmates– Liam McCarthy on bass, Michael Ruocco on Drums, and Claire Collins on vocals and guitar. Their latest EP, “Third Eye Demos”, serves as an indication of the distinctiveness of the sounds to come on their debut LP. They combine a tasteful angst with a lyrical earnestness– a clear desire for loudness with a deeply-rooted sense of sonic purpose– and the result is a sound that is undeniably Vivian in its essence.
Nolan the Ninja, the storied Detroit-raised and Chicago-based rapper and producer, has been churning out densely lyrical tracks and entrancing instrumentals for over a decade. Now, as he reflects back on his career, and pushes the echelon even further with recent collaborations with Open Mike Eagle and the continued expansion of his own catalog, he knows that his unique creative imprint has set the foundation for everything he’s accomplished.
Restless Taxis, the genre-transient, noise-rock-influenced band based in London, has found their niche with the addition of Jess Nwosu and Dylan Haynes to their lineup just over a year ago, operating within the intuitive combination of the trio’s creative influences to bring a vision of a new sonic wave to fruition– one that incorporates a deeper sound and rhythm of the Black diaspora into the crushing sounds and cataclysmic renderings of shoegaze and post-punk’s usual genre-motifs.
Virga, hailing from the sweeping plains outside of Lawrence, Kansas, sits contra-positioned somewhere between a minimalistic shoegaze and a nose-diving slowcore, reflecting the space and openness of the physical topography they call home. Yet, under frontwoman Faith Maddox and the ongoing creative contributions of her bandmates, the project continues to plow onward into increasingly necessary and starkly conceptual topics– with their latest EP, “The Perfect Freedom of Single Necessity”, serving as the next logical touchstone in this continuing progression.
Star Card, the bedroom-born and NYC bar-blossomed rock band, formed initially from frontperson Calley’s undeniable drive for creative revelation. But as the project has found its footing, and cemented a sound with the release of their debut album Trash World, it has expanded and toiled beyond the confines of Calley’s home recordings– carving out a lane as a deeply singular voice within New York’s bustling DIY scene.
Julia, the rock band from North Carolina, is in a sense only nominally a funk-oriented group– their P-Funk and RHCP foundations are certainly embedded deep in their creative roots– but with their new album, “Fish in the Percolator”, they have taken their sound much further into the expanded territories that each of their members provides, producing an energetic and delectable mix that at least fleetingly incorporates virtually every flavor of rock. “Fish in the Percolator” is, in short, a cunningly unique project– an honest representation of what makes Julia.’s creative presence so captivating.
Kleo, the Copenhagen-based indie-pop artist, has made waves with the release of her debut project Event Horizon, gracing complex and shimmering instrumentals with her explorations of love, loss, and the catastrophes and triumphs in between. But Event Horizon, and her catalog as it appears on the page, fail to tell her story of artistic and personal maturation, and her debut album serves as the culmination of this journey.
sleepazoid, the post-punk-influenced, alternative rock band based in Melbourne, has taken another step forward into their rough-edged sound with the release of their second EP “New Age” in early 2026. In doing so, they have done more than log another entry into their catalogue, however– they have crafted a testament to their creative cohesions as a band, a refinement of their sonic intentions, and a staunch move towards a striking dynamism.
Ken Park, the recording project of San Diego-born and New York-based songwriter Liam Creamer, took its first steps into the limelight with the release of Creamer’s debut, self-titled EP on Feb. 26. For a distinctly creative spirit who had truly no other path than music, however, the EP represents more than a debut– it is a massive sigh of relief, heaved from a standpoint of emotional catharsis and passion.
Tōth, the solo art-pop project of Brooklyn-based multi-instrumentalist and singer-songwriter Alex Toth, has reached, in many ways, its culmination with the release of his third LP under the moniker: And the Voice Said. After years of personal and creative turmoil and triumph, Tōth has come to represent a needed outlet for its founder, and, with the arcing rhythms and fresh energies the new project takes on, it seems as though that outlet has found its fruition– one that takes a much different shape than the two previous entries in Tōth’s catalogue.
FUZZY TEETH, the interminable indie-pop and experimental rock project fronted by the Netherlands’ Anthony Koenn, has made an undeniable statement with its debut album: one that centers around Koenn’s delicious blend of maximalist sounds and colliding influences. From his time in more punk-driven projects such as PEACH., Koenn brings a heavy, intense sensibility to a creative process that forces him to slow down, resulting in a simultaneous immediacy and intentionality of sound that thoroughly captivates the listener.
For MX Lonely, the Brooklyn-based rock band, their newest album– All Monsters– represents a stark realization of the sound they’ve pursued since their organic beginnings, straddling a barrier between enormously loud and dauntingly personal and intimate. It’s a process they began through their first two projects, and now, on their true debut, they have delivered a resoundingly clear message of their sonic intentions.
Zion Battle, the Manhattan-based singer-songwriter who operates under the moniker Katzin, has taken a full inventory of his various influences and inspirations with his debut album, Buckaroo. In doing so, he has communicated a profound and vulnerable story of the shaping of an identity– finding his own thoughts and creative mythos basked in the warm light of a pop-influenced folk and country milieu.
Cistern, the British Columbia-based indie rock band, has seen its fair share of sonic transformations since its raw beginnings, opting to linger in the profound mixture of the tastes and creative desires of its various members rather than any concrete vision or constricting artistic pursuit. With the release of their latest album, Rhizome, however, they have marked off the end of a distinct era for the band, and their coming shift is indicative of the freeform creative approach they have collectively decided upon.
For San Francisco-based prog rock band Magic Fig, the mission has always been clear: create tantalizing and expansive music heaved from the swirling depths of the British rock of the late ‘60s and early ‘70s. But, as the band has continued to evolve, the initial boundaries they set for themselves have been forced to expand. Their newest project, Valerian Tea, serves not only as a representation of their collective vision but as a testament to their melting pot of influences– and their spacious and inclusive take on progressive rock as a genre.
Peaer, the Brooklyn-based, math rock-influenced band helmed by Peter Katz, is at the precipice of a major creative shift after over a decade spent together. With Doppelganger, their most recent project, marking the end of an era for the group and other members of the band moving onto other phases of life, Katz has determined it is time to take the project back where it began: into his own hands.
Bibi Club, the Montreal-based indie pop duo of Adèle Trottier-Rivard and Nicolas Basque, has been carving out distinct vibrations since their formation in the late 2010s, operating in the midst of the direct action and sonic intimacy that has defined their creative process from the very beginning. As they have continued to work together, however, Bibi Club and their artistic partnership have evolved tremendously, with their forthcoming release, Amaro, serving as undeniable evidence of that fact.
For the Virginia-born and raised rapper and illustrator Raan Brown, the moniker Alfred. has long represented a crystallization of a distinct part of their personality, taking the maximalist aspects of their persona to certain extremes while maintaining a centrality of flow and cadence that is indicative of their mastery over their craft.