I've finally gotten my ass in gear. They say you can't win the lottery if you don't buy a ticket. I guess the same applies to music.

OtherWhys is a concept band, a blend of friends, both acoustic and digital. The music is written by either Baran Galocy or Tienne Beaulieu and usually performed by both.

OtherWhys has a twofold purpose. First, to point out when the emperor is, in fact, bare-ass naked, regardless of whom s/he is. The second, and greater, purpose of OtherWhys is to remind us all (artists included) of how little time we all really have here, and what it is all really about, anyway (hint: LOVE;).

So . . . can political satire and metaphysical tangentiality really make good musical partners?

Stay tuned - B

Latest News

No news (good news, eh?)

Well . . . be watching for one to two new songs per month, as we get better at that studio thang.

Namaste - Baran

OtherWhys bio

I was raised in SOFLA, and music was always around me. My father was a music teacher and my mother played accordion and sang at conventions and parties. Now that I am about half-way along on this ride, I finally feel as though I have something worth singing about (doesn't everyone;).

I strive to write music that is lyrically driven, with a strong rhythm and a good melodic hook. I have to like it (obviously). Usually a riff will come to me to support what often becomes the dominant lyric. As a percussionist, I strive for a progressive rhythm. My melodies are usually simple enough to support and enhance the lyrical content. I strive to place the vocals in a dominant aural position, as the music is lost if the words can not be understood. I am usually either speaking out about politics or looking inward about life. Two extremes, it would seem, but I find balance.

My early influences were Led Zeppelin, Jethro Tull, Rush, Yes, Missing Persons and Frank Zappa ithroughout my formative years. I currently listen for the latest by Rage Against the Machine, Panic at the Disco, Disturbed, Matchbox-20, and too many others to mention.

About a year ago, I came out of the (vocal) closet and sang a song I wrote to my church congregation of about 200 (talk about a captive audience;). I sang well enough to allow me the audacity to presume that, given enough practice, I can sing well enough for a professional to understand what s/he is supposed to sing.