Today we’d like to introduce you to Ethan Stafford
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
It’s been three years, and in that time, I’ve recorded an EP, a stack of singles, and three full albums ready to drop this year across three bands. For me, it’s not about ambition; it’s about necessity. This is who I am, and I don’t turn it off. Each project I’m part of has its own pulse, its own identity. They’re not just bands—they’re extensions of everything I can’t say out loud.
SINCLAIR NOIRE’S BONE ORCHARD is the loudest, angriest, and most unapologetic expression of everything that feels wrong—and dangerously seductive—about the world right now. It’s built from the shadows of Lovecraftian dread that seeps into your veins like a toxin, but the real monsters in this record aren’t hiding in the dark—they’re out in the open, wearing suits and tearing the country apart with every passing day. There’s Bauhaus and Killing Joke woven into its DNA, but this record is something entirely my own—a howl into the abyss of chaos we’re all drowning in.
Lyrically, BONE ORCHARD pulls from the pulse of the moment: the current political unrest that’s left America cracked down the middle, the suffocating weight of leaving the place you’ve always called home, and the strange, desperate beauty of losing yourself—to someone, to a cause, to the madness swirling in the air. It’s the sound of a nation clawing at its own throat, a reflection of the fear, rage, and vulnerability we try to bury, only for it to claw its way back to the surface.
At its core, BONE ORCHARD is an exploration of loss—losing your home, your loved ones, your innocence, and maybe even your will to keep fighting. It’s a reflection of the opioid epidemic, where synthetic relief turns into a death sentence; of the devastation of wars fought for oil and profit, leaving generations scarred and displaced; of the political unrest that’s become the new normal. And yet, it’s not just an album about despair. It’s about the strange beauty that rises from the ashes—those fleeting moments of connection, lust, and desire that remind us we’re still human, even when the world feels inhuman.
This album isn’t just angry for the sake of anger—it’s the anger of grief, of knowing that the flames consuming Hollywood’s hills are the same flames threatening to consume the soul of the country. It’s the sound of a city haunted by its ghosts, of a nation haunted by its failures, and of a person standing in the middle of it all, screaming into the heavy, smoke-filled air. BONE ORCHARD is the album you play when the lights are low, the world feels like it’s on the brink, and you can’t decide whether to burn it all down or let it consume you.
MOST MODERN’S ACID RAIN is where I let my melancholy, darker side out. It’s a lengthy LP that looks at the wreckage of toxic relationships, environmental collapse, and the strange beauty in endings—whether it’s love or life. The songs feel like walking through a storm and letting it drown everything you’ve been holding onto.
The album dives into the devastation of what we’ve lost from the planet—species erased forever, forests turned to ash, and oceans choking on plastic and oil spills. It’s a meditation on the quiet apocalypse we’ve all grown numb to, the one where cities drown while the rich build higher walls. But it’s also about what that loss has done to us as people. The same systems that destroyed the planet have bled into our lives, creating a loneliness epidemic that feels as inescapable as the rising seas. We’re more “connected” than ever, but somehow, we’ve never felt more alone.
Lyrically, ACID RAIN also explores how technology, the very thing that was supposed to save us, has instead become another tool for corruption. Governments use it to manipulate and mislead, relationships are fractured by the cold glow of screens, and truth itself has become just another casualty of the misinformation machine. It’s a world where you can’t trust what you see, who you love, or even the ground beneath your feet. It’s about the hollow ache of living in a world where the natural rhythms of life have been replaced by artificial chaos.
TH3 L3P3RS’ TRAGIC BLONDES is the album you play when you’re staring out at a city that looks perfect from a distance but is rotten up close. It’s Hollywood’s underbelly—loneliness, lust, isolation—wrapped in a sound that’s seductive and biting. It doesn’t just tell a story; it leaves scars. But there’s a hopefulness to the sorrow of the songs; it’s the raw beauty of the tragic blondes in Hollywood—Marilyn Monroe, Jean Harlow, Veronica Lake, Jayne Mansfield—icons who burned so brightly they couldn’t help but self-destruct. Their lives were like Los Angeles itself: dazzling on the surface, but always on the edge of catastrophe.
When I think about the LA Wildfires, it feels like the city mourning itself. Those flames don’t just consume—they reveal the fragility beneath all the glitz and gold. THE L3P3RS captures that same ache, that same devastation. It’s the Hollywood dream, beautiful and intoxicating, turned to ash. Just like the wildfires strip away everything false, leaving only scorched earth and smoke, our music strips away the façade of lust and fame, exposing the loneliness, the isolation, and the desperate beauty of a city that thrives on destruction.
Three bands, three very different bodies of work, but they all come back to the same place: they’re unfiltered, raw, and entirely real.
We all face challenges, but looking back would you describe it as a relatively smooth road?
We’ll start with the roads I’ve traveled. Mexico City is its own beast—a vibrant, unfiltered pulse of life. There’s no polished, picture-perfect suburbia here. It’s raw, electric, and alive with chaos. Prostitutes stand under neon lights, street food markets overflow with peppers, meats, and spices you didn’t know existed. There’s a flavor—both literal and metaphorical—you simply can’t find in sanitized, cookie-cutter cities. Mexico City is a wild concoction of sin, pleasure, rebellion, and Roman Catholicism swirling together in a dizzying, beautiful dance. Playing shows there isn’t just performing—it’s stepping into something primal and alive.
Toronto, on the other hand, is a city with a different rhythm—raw, honest, and grounded. Its pulse is undeniable, with driven people and vibrant streets. Yet, when winter descends, an undercurrent of isolation seeps in. LA, by contrast, is a city of reinvention, constantly shedding its skin. Where Toronto feels rooted in its identity, LA thrives on chaos and perpetual change. One burns you out; the other freezes you in place. I’ve walked both, and each has left its mark—Toronto’s clarity, LA’s chaos. Both cities remind me that nothing stays the same, but if you’re paying attention, you’ll find beauty in their extremes—grit or glamour, wherever you look.
Texas, though, is where it all began for me. Its music hubs—Austin, San Antonio, Houston, and Dallas—are alive with scenes and subcultures waiting to be explored. Each city has its own flair, and getting to know the locals fuels my journey as much as the music itself. Sharing venues with passionate fans, hardworking merchants, dedicated bartenders, and creative DJs keeps the fire alive.
That kind of energy drives me. Touring isn’t easy—it’s exhausting, dirty, and unpredictable. But it’s also freedom. It’s waking up in a city you’ve never seen before and leaving a piece of yourself behind in the sweat of the stage and the memories of the crowd. Resilience comes naturally when you’re always on the move.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
What sets me apart is my ability to fuse the raw aggression of different strands of rock with the sultry sensuality of darkwave, all while layering in the atmospheric depth of gothic and deathrock influences. I don’t just make music—I create experiences. My collaborations have always been about pushing boundaries, blending disparate worlds into one emotionally charged sound. Whether it’s Stephen Fernandez’s bass grooves, Dasa’s primal drumming, Joey’s synth-driven visions, or Simon and Griffin’s production magic, every project I’m involved in is about crafting something visceral, something real. It’s about embracing chaos, darkness, and raw energy. What I’m most proud of is translating those feelings into sound and taking people along for the ride.
Through projects like MOST MODERN, the cinematic feel of TH3 L3P3RS, or the raw intensity of SINCLAIR NOIRE, I’ve always merged worlds—punk, darkwave, deathrock, gothic elements—all colliding to create more than just music. I aim to create spaces where people can feel, experience, and lose themselves. Each project reflects my commitment to turning raw, unfiltered emotion into a soundscape that demands attention. SINCLAIR NOIRE marked my first step into the dark music scene, and the support of my hard-working, street-earned bandmates adds a layer of legitimacy I adore. There’s no TikTok lip-syncing here; you either have the real chops or you don’t.
Above all, what I’m most proud of is my ability to take everything I’ve learned—from the chaotic music scene to the artistry of film—and pour it into a sound that isn’t just heard, but felt. Every project I’m part of is a living, breathing experience that pulls you in, confronts you, and leaves an imprint you can’t shake. It’s not background noise—it’s music you surrender to, lingering long after the final note fades.
In terms of your work and the industry, what are some of the changes you are expecting to see over the next five to ten years?
DIY musicians are always right in the thick of it, embracing the chaos—and honestly, that’s where the fun happens. But if you’re serious about making it, it’s not just about booking shows or selling merch—it’s about being strategic with how you push your content out there. Social media can be a maze of gatekeepers and uncertainty, and that’s why I think YouTube stands out as the best platform for indie musicians. It’s the best tool to promote yourself if you’re focused more on music videos over influencer personas.
I learned a lot from working with industry pros like Esli Sugich on TH3 L3P3RS’ TRAGIC BLONDES in LA and Xavi Juarez at Wall of Fog in Austin for SINCLAIR NOIRE’S BONE ORCHARD. These guys have been around long enough to make sure you keep your shit on track without losing the core of what makes your sound yours. You’re still DIY—you’re just doing it smarter.
Look at MOST MODERN’S ACID RAIN—Joey Olivares had the synthpop and darkwave vibes dialed in, but when I came on board, we took it further, adding a darker, more intense edge. That’s because we understood how to merge our worlds. Joey knew his way around a Roland JD-Xi synth, and I brought in a heavier deathrock guitar and vocals that hit deep. But none of that matters if you don’t have a plan for reaching your audience. You can write killer songs all day, but without marketing and distribution, it’s like shouting into the void.
Working with Simon Diaz and Griffin Wright on TH3 L3P3RS’ Tragic Blondes was a game changer. Simon’s a road veteran and photographer with real industry clout, while Griffin’s guitar work is haunting. When we started working together, we didn’t know exactly where it would go, but we knew we had something real. We put in the work, and “Neon Demon” exploded—77,000+ listeners in its first month. That doesn’t happen by accident. You can’t just roll the dice on something like that. You need hustle, energy, and an understanding of how to make it stick.
That’s why I still believe the traditional DIY path is the best one. Yes, you deal with gatekeepers and rejection, but that’s just fuel to keep pushing forward. Think of the cockroach: persistent, gritty, and always moving. Sometimes, you have to be bold, too.
I see the DIY scene thriving, but evolving into something smarter. The artists who truly get it will be the ones who know how to hold onto their independence while still playing the game. The hustle will always be there, but now it’s a hustle with strategy. That’s the evolution I’m seeing, and I’m all for it. It’s still punk, still DIY, but now it has more foresight. And trust me, that foresight makes you untouchable.
I’m excited for fans to experience BONE ORCHARD, ACID RAIN, and TRAGIC BLONDES this year. It’s DIY at its core, and the artists who embrace that will thrive.
Pricing:
- $25.00 – SINCLAIR NOIRE SKULL TRIO T SHIRT
- $12.00 – “YOUTHFULLY, TRUTHFULLY, FIENDISH” REMASTERED CD
- $50.00 – LIMITED EDITION WOMEN’S BANDEAU
- $40.00 – LIMITED EDITION WOMEN’S PANTIES
- $28.00 – CLOSING HANDS MOST MODERN T SHIRT
Contact Info:
- Website: https://sinclairnoire.bandcamp.com
- Instagram: https://www.instagram.com/sinclairnoire/
- Facebook: https://www.facebook.com/profile.php?id=100089557532714
- Youtube: https://www.youtube.com/@sinclairnoire
- Other: https://mostmodern.bandcamp.com/merch
Image Credits
Victoria Renard
Sumner Morrill
Simon Diaz
