“My name is Benjamin Violet, and I started Pelvis Wrestley with the simple concept that identity is a two-way street: you may tell from my outfit that I am a cowboi, but the fact that I am a cowboi changes what cowbois are. I can tell from your last name that you are a Smith, but the fact that you are a Smith changes who the Smiths are. I can tell from your flag that you are American, but the fact that you are American changes what America is.
The work of Pelvis Wrestley seeks to alter identity markers by claiming and participating in them in order to subvert their direction and meaning in the larger world. Similarly, as we bring a bold presentation of our work to the stage and new media platforms, we invite our audience to affect our songs, pictures, and stories by the radical act of identifying with them. After all, there wouldn’t be a show if you weren’t there to see it.”
Glam senselessness and western sensibility–Pelvis Wrestley creates eclectic compositions and genre-teasing songs that have exploration in their DNA, while feeling simultaneously, relentlessly homesick. Beginning in the Fall of 2018, the group set out to adapt Violet’s synth pop background with the country music format to help redefine an American identity. Garnering immediate support from the local Austin scene, they were playing packed clubs and sold out rooms by the end of their first year. A supergroup of Austin talent, Violet tapped guitarist Santiago Dietche (Daphne Tunes, Central Heat Exchange), drummer Sarah Schultz (Sun June), keyboardist Hannah McVay to start the redefinition.
Releasing their debut record, Vortexas Vorever, in the deep swamp of 2020 pandemic, their unique brand of western-infused synth music garnered attention at home and abroad. A short run of cassettes on Austin Town Hall Records led the charge, defining the debut with an air of scarcity that seemed to fit the disembodied sentiment of the year. NPR affiliate, KUTX, named the pop gem, “In Heaven,” song of the day in celebration of the release. Finding its legs, the record caught the attention of baroque pop royalty, Kishi Bashi, who called it “An electronic melody coaster ride through every 80’s classic flick you missed out on. Hints of Springsteen, James Mercer, and The Cars. Best served now.”