Beguiling beauty in @’s folk songs
There’s an undeniable air of mystery surrounding the indie-folk duo @, Stone Filipczak and Victoria Rose. Their entire artistic package feels like a carefully constructed enigma, beginning with their name alone, which serves as an unsearchable symbol for the intricate, slippery nature of their sound.
The intrigue starts with tracks like ‘Bird’, the opening salvo from their album Autosmile. It’s a masterclass in delicate tension, featuring a dark, delicately picked acoustic guitar and an eerie vocal melody as Filipczak sings about unsettling imagery. The magic lies in the hook: a transcendent melody backed by Rose’s harmony that shifts the song’s momentum before quickly reverting, giving the music an ungrippable, fluid quality. This willingness to introduce and remove musical elements, mess with time signatures, and keep lyrics vague yet visceral defines their unique brand of modern folk.
Beyond the music, the duo’s story is equally layered. While they share a home in Philadelphia, they nurture their creative process by working in separate spaces, allowing for the necessary space to think. Rose, when not crafting melodies, is a beekeeper, and Filipczak is a self-taught computer programmer—a delightful juxtaposition of the grounded and the digital.
Their journey into music was organic, fostered by shared influences. Rose honed her vocal talents singing in choirs, developing an impressive sense for harmony. Filipczak first found his voice through the live traditional music his Croatian grandmother hosted. Both eventually gravitated toward the accessible, lo-fi songwriting of artists like Grizzly Bear and Elliott Smith, spurring them both into writing their own stories.
Their connection deepened over time. When Rose first met Filipczak, she was drawn to his seemingly different, free-spirited energy. While they started as friends, the musical partnership developed later. Filipczak explored the world of noise-rock and punk, while Rose channeled her experimental instincts into haunting, lo-fi folk music under the name Brittle Brian during those formative years.
The initial spark for their music crystallized during the COVID-19 lockdown, when they began sharing song ideas over text. This quickly evolved into their debut album, Mind Palace Music, which they recorded with a spontaneous energy. Though they were used to releasing music to small communities, they didn’t anticipate the wider reach the project would find, leading to Carpark Records eventually championing the record via the indie big-leaguer 4AD.
As they moved toward their latest work, they experimented with electronica, which resulted in their 2024 EP, Are You There God? It’s Me, @. Filipczak described this effort as comedic and weird, a chance to shift away from the earnestness of their full-lengths. This willingness to pivot showcases their playful side, hinting that future projects might involve even more genre-bending fun.
Recording Autosmile brought a new focus. Though they had the backing of a major label like 4AD, they chose to keep the recording process intimate, opting for home sessions. This decision allowed them to focus on the songs themselves, resulting in a more complete and focused body of work, culminating in the almost seven-minute title track that feels like a true magnum opus.
Their musical references are anything but understated. While they are rooted in folk, their sound leans toward the extravagant arrangements of Fleetwood Mac, Fairport Convention, and late-era Elliott Smith. They approach live arrangements with an innovative freedom, sometimes distilling their songs down to their most primitive forms to maximize their impact. This dynamic is central to their craft, allowing them to experiment with presentation while remaining firmly rooted in their songwriting.
Despite gaining traction and facing the expectations of the music industry, the duo remains committed to their roots. They value the DIY world, finding fulfillment in self-releasing and playing shows within their established music communities. The journey of @ is a testament to the power of kindred songwriters who prioritize the craft, proving that true magic often lies not in chasing trends, but in writing the songs that feel entirely, uniquely their own.
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