Collin Walsh (Vocals)
Dallas Molster (Guitar/Vocals)
Andrew Kyne (Guitar)
Nick Ventimiglia (Bass)
Nick Veno (Drums)

Adornment is defined as “a thing that adorns or decorates; an ornament.” For Grayscale, the word serves as the title of their Fearless Records debut, where intricate elements and motives weave seamlessly throughout—each song containing its own puzzle piece, or ornament—to adorn a bigger story. The Philadelphia-based quintet is composed of vocalist Collin Walsh, guitarist/vocalist Dallas Molster, guitarist Andrew Kyne, bassist Nick Ventimiglia and drummer Nick Veno. Through their unbarred emotion and unique blend of alternative rock and punk roots, Grayscale utilizes these components to explore the juxtaposing ideas of beauty and affliction.


“Among tragedy is beauty; you just have to find it,” Walsh explains. Though the band are no strangers to sharing their deepest, most personal thoughts and experiences, Walsh raises the bar lyrically—creating a collection of stories based on challenging life events across the 11-track album.


Since forming in 2011, when the band members were only in high school, Grayscale has emerged quickly from the Philadelphia punk scene, establishing a solid fan base and sharing stages with the likes of Cute Is What We Aim For, Knuckle Puck, Neck Deep, Seaway, and more. Now, working with producer Kyle Black (State Champs, Handguns, Hit The Lights), Grayscale has honed their talent of constructing strong hooks, relatable lyrics and catchy riffs, all the while coming into their own distinguished sound. Adornment sees the band expand their sonic palette, further illuminating their skill of creating well-narrated stories paired with palpable emotion that urges listeners to dive in and craft their own narratives.


“I write super honestly about things that I’ve gone through and really struggled with,” Walsh says. “I think when people listen to the songs, they’ll be able to relate to the lyrics and feel what the song is really about.”


The concept of the record developed naturally, as Walsh’s knack for lyric, poetry, and short story writing had already constructed many of the themes before instrumental writing even began. In dealing with insomnia and anxiety, Walsh implemented a literary process called “stream of conscious narration” to streamline his thoughts and ultimately help him cope. The penned lyrics stemmed from flashes of memories and dreams. Similar to experiencing a certain smell or hearing a song that takes you back to a specific point in time, each memory or dream had an element sitting eerily in the background that drove buried emotions to the surface again.


“There was definitely a moment when I went back into my lyric book and realized that these things I was seeing meant something,” he explains. “These were things that reminded me of certain times in my life; all of them beautiful and naturally occurring. I’d see them in a memory or dream. These elements either stood for something, or were present in the background during these times in my life… it just took a while to notice them.”


For example, the first single, “Atlantic,” depicts a fictional place and highlights the elements of fog, gold and smoke as Walsh sings, “You used to be mine, my world used to shine like gold.” Driven by flourishing melodies and vibrant recollections, the song is a reflection about breaking cycles and feeling the need to escape.


“It is an extremely personal record,” Walsh summarizes. “I want people to listen and be able to confide in our music.”

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