FM PRO SPOTLIGHT
Icarus Phoenix balances contrast and catharsis in Depresso Dragon Bop. Playful on the surface, wired with tension underneath.
Based in Baltimore, MD, the band features Drew Danburry (gtr/vox), Eli Sims (drums), Leena Rhodes (gtr/vox/synth), Brendan Russell (bass), Peyton Rodeffer (gtr/vox/etc), alongside Andrew Young (drums, percussion).
Operating deep in the DIY lane, Drew Danburry and Icarus Phoenix run a long-game model—400+ songs, 800+ shows, and a catalogue shaped outside algorithm pressure.
New single Depresso Dragon Bop feeds into the upcoming Gallop EP (June 25), pushing a contrast-led approach where upbeat structures carry heavier themes: identity, control, belief systems, and self-preservation.
The writing flips tone without warning, humour colliding with anxiety, melody holding space for darker undercurrents; while the recording process stays equally direct. Tracked fast in shared rooms, built on live takes, gang vocals, and minimal polish, the focus lands on energy capture first, clarity second.
Across Gallop, that balance holds: “living your best life” reframed through boundaries, privilege, and emotional weight. Delivered without over-filtering.
I have burned out. Multiple times. At this point, I’ve been able to frame the creative process as being for me, without having any regard for what it gives in return. The process is the return. The result IS the success.
Oh, the Joy of Life!leans playful on the surface but cuts into control, identity, and belief systems. What sparked that contrast-led writing approach?
I was raised Mormon and left that church a long time ago. This particular song was inspired by a conversation I had with two different people. One of them had escaped a cult where a man could glow. Another was on a walk with another ex-Mormon where we brainstormed a potential band that would dress and act like a cult (kind of like Polyphonic Spree) and I went home and wrote this particular song for that project, that never came to be.
The contrast led writingapproach is pretty standard for me though. I’ve always loved upbeat melodies with dark and/or thought provoking lyrics. Although Belle and Sebastian could easily be claimed as an influence early on.
Depresso Dragon Bopflips anxiety and self-worth into something upbeat and tongue-in-cheek. How do you balance humour with emotional weight without diluting either?
That is always the goal but I’m never sure if I’m pulling it off to be honest. This particular song was originally three different songs that I jammed into one. The opening was something a friend and I were laughing about conceptually. Talking about doing a super depressing Beach Boys-esque song where the singer is trying to convince himself he’s not depressed. The second part I wrote after witnessing a sibling repeatedly struggle with the same thing over and over. The third part felt like a good response to the second part. But generally, I try and be honest and authentic. My sense of humor is dark and I will most likely die laughing at my own death. Life’s too comical and ridiculous.
The Gallop EP frames“living your best life”alongside boundaries and privilege. How personal was that theme when writing these new songs?
I suppose I’m always attempting to live life in a way that is proactive, inclusive and setting boundaries. It’s something I never fully know the answer to, but constantly try and attain. To love the world around me but maintain a sense of self-preservation and self-care. I suppose as we learn and grow we shed past toxic relationships and keep the door open for those who are capable of healthy relationships? I fully empathize with others in feeling frustrated and I will gladly swoop in and help but if it’s a one way street and it’s not reciprocated then I’m not interested. It’s a delicate balance though. People make mistakes but it’s not okay for repeated abuse or for a one sided relationship.
You’vebuilt a fully DIY catalogue over decades, 400+ songs, 800+ shows. What’s the one principlethat’skept the system moving without burnout?
That is a great question. I have burned out. Multiple times. At this point, I’ve been able to frame the creative process as being for me, without having any regard for what it gives in return. The process is the return. The result IS the success. The fact that I live in a world where I can share music with others is a blessing. The fact I can travel places and play for people is a privilege. The goal is to create something I’m proud of and not worry about how it’s received. To let go of what I can’t control and offer up the best of my abilities for what I can.
The EP holds a direct, low-friction arrangement while integrating gang vocals, live takes, and rougher textures. How did you structure the recording and mix process to retain thatcommunal feel while keeping translation clean across playback systems?
We got a chance to record at June Audio with Jed Jones again and the process is really straightforward. Since we’re tracking 20+ songs in the span of a few days, we essentially bang it all out in a big room and then do vocals individually. Gang vocals and extra percussion we did in a big room all together so there’s a live feeling there while still having a separation required for a high quality end result. The idea of course to try and capture an accurate document of the energy or intimacy of a song as best as we can? Thank you again for taking the time to mention what we’re doing. Share it with others and include is. It’s humbling and we appreciate it.
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