Jorge of The Dancing Skeletons
A collaboration that keeps evolving
I’ve known Jorge from The Dancing Skeletons for a couple of years now,what started as a client relationship quickly turned into a genuine friendship. Our first project together was a studio shoot, and we immediately clicked. There was this natural creative chemistry from the start.
I was first introduced to him through booking manager Jennalyn from SoCal Indie Musicians, and I remember being instantly drawn to Jorge’s writing. There was something raw and intentional about it. Since then, I’ve been lucky enough to become his go-to media person,album after album, concept after concept.
Some of my favorite moments aren’t even on set,they’re the meetings. Jorge will come in with a flood of ideas, just throwing everything out there, and my role becomes shaping that energy into something visual. I take those ideas, build mood boards, refine the direction, and turn them into something tangible. It’s a process I genuinely love.
When he came to me for an editorial shoot in Los Angeles, he had a clear vision, an early 2000s aesthetic with that Fuji Film 400 look. Honestly, it was right up my alley. What I appreciate most about Jorge is how sure he is,there’s no second guessing. He knows what he wants, which gives me the freedom to execute and layer in my own creative voice.
That shoot naturally led into more. A few weeks later, we were back in the studio experimenting with color and gels, pushing things further visually. Then not long after that, we dove into another project together, the music video for “I Came Here to Know You.”
We spent hours on Zoom going over edits, effects, and color grading, fine-tuning every detail. The goal wasn’t perfection. It was something perfectly imperfect. We leaned into that. We played with horror and gore, but in a way that didn’t take itself too seriously, fake swords, fake blood, breaking the rules just enough to make it feel right for the song.
That’s what I love about working with Jorge. It’s never just one project,it’s an ongoing collaboration. Each idea builds on the last, and every time, we push a little further.
Mining Mars — From Corbin Bowl to the Studio
I always find the coolest underground bands in the most unexpected places. I came across Mining Mars at Corbin Bowl, of all places. I had carpooled with my guitarist Jennalyn (Socalindiemusicians) to help set up for The Dancing Skeletons’ single release show, and somehow ended up discovering a band that completely pulled me in.
Mining Mars is three guys who just own the stage. No overthinking it, just raw, undeniable energy. From the first song to the last, I was hooked.
I shot some 35mm film during their live set, chasing that grit and movement you can only really capture on film in a dark venue. There’s something about live music photography on film that feels honest, imperfect in the best way. After their set, I introduced myself, and a few weeks later we brought that same energy into the studio. What started as a chance discovery quickly turned into something more intentional. Taking a band out of their live environment and placing them in a controlled studio space is where the shift happens,where performance turns into presence. With Mining Mars, it wasn’t about recreating the stage, but translating that raw energy into something more intimate while still holding onto its edge.
Black Cat Coalition — Studio Session
At the tail end of 2025, my band Frequency Within shared the stage with Black Cat Coalition, and after seeing their stage presence, I immediately knew I had to get them into my studio. There was this intensity in their performance that felt raw and electric,the kind of energy you don’t forget.
When I met with Moose, their main vocalist, over Zoom to talk through the shoot aesthetic and expectations, I was honestly thrown off in the best way. Their calm demeanor was the complete opposite of the powerhouse I had seen on stage. That contrast became the foundation of the shoot capturing both the quiet and the chaos that exists within an artist.
This session became a natural extension of my ongoing series, Vocal Cords: The Intimacy of SoCal’s Underground Rock, where I focus on pulling musicians out of the live environment and into a controlled space to reveal something more personal. There are so many strong images from this shoot, but what stands out most is that balance between vulnerability and presence.
Black Cat Coalition brought both...effortlessly.
