meet_the_band
/execute band.exe
GLITCH DOLL
vocals.bat, guitar.exe
Glitch Doll carries the voice at the front, and she shifts with the song. On the loudest tracks, she shouts with riot grrrl energy, sneering and raw. On others, she half-sings, half-spits lines, letting sarcasm and tone do as much work as volume. She doesn’t treat vocals as one register — she treats them as a set of tools, from chants to bitter melody, to get the point across.
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She grew up in East Los Angeles, daughter of Mexican immigrants, and studied English Literature before turning toward activism and music. That background feeds her lyrics — sharp, direct, and uncompromising — making her both the voice and the spark of Mona Lisa Override.
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NOVA
guitar.cfg
Nova grew up in Chicago and plays with intent. Her riffs are stripped of ornament, built to press forward and hold pressure when the song needs teeth. When the tempo drops she stretches lines into something weighty and melodic, letting chords carry tension instead of flash. The guitar is her way of drawing hard edges around a track so the lyric can cut clean.
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On stage she is force without theatrics. The sound comes first, direct and unpolished, shaping how each song lands, whether it leans into grit or a slower burn. Tracks like Castle.exe and Blue and Yellow show both sides of her approach, from dense distortion to lines that feel almost mournful, always played like every note matters.
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NEON VULTURE
bass.dll
Neon Vulture makes the floor shake and the song breathe. On the heaviest tracks her bass is a rough loop that will not stop, while on the more reflective ones it holds a resonant line that adds gravity. She treats low end as architecture, not decoration.
She is from San Francisco, the child of Chinese immigrants, raised between a family electronics shop and neon arcades in the shadow of Silicon Valley. That background feeds the band’s cyberpunk texture and her instinct for turning collapse into pulse.
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ECHO
drums.sys
Echo drives the band’s pace with intent, switching from riot-speed marches to restrained, spacious patterns when a track needs air. She is less about display and more about movement, making the songs feel alive, unstable, and inevitable.
She is from Detroit. She learned on junkyard scraps before owning a kit, transitioned as a teenager, and survived the hostility around her. Percussion became survival, persistence, and resonance, which is why her name fits the way she plays.
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