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P2P 001 Thanks God

Thanksgod is a producer and musician based in New York.
Gregory Miller is a contributing fashion editor of CODE.

At CODE, we believe that the most insightful and interesting conversations happen between peers. Whether they share a language, a craft, or a curiosity that pushes the boundaries of their fields we are connecting the characters at play. Reflecting our overall goal in bridging the gaps of communities. Our new peer-to-peer interview series brings together musicians, artists, scientists, and cultural thinkers in direct dialogue, offering perspectives sometimes unfiltered on the intersections of art, technology, and the sciences. Through these exchanges, we aim to uncover the questions that drive creative and intellectual discovery, creating a space where innovation thrives in conversation.



Gregory Miller: What else have you been working on?

Thanksgod: I just, recorded vocals on this punk demo. I still have to master it.

GM: Is it part of your new album? Did you put it out yet? I was looking for it but couldn’t find anything. Only a couple of songs, but not the whole thing.

TG: Not yet it comes out January 1st.

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GM: Are you still djing?

TG: I’ve never really actually dj’d before. That time you saw me at The River was one of my first times. I've been getting good at it, I would be down for something lowkey but I definitely wouldn't want to become a club DJ.

GM: Yeah it's so competitive.

TG: Yeah mostly just been locked in focusing on the album.

GM: What's the vibe for it, is it like the demo you just played?

TG: No, that's the only song I've ever done like that.

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GM: Really? It's cool. It kinda sounds like Unit3, do you know that band, with that kid as the front person?

TG: I have a screamo track but it’s not really punk. I’ve been trying to do more hype sets now. I did a set at Rash, it was all hype tracks. A lot of my sets in the past would be hype with a slow intermission, and then I would lose a lot of people. I’ve just been into building the hype as much as I can lately.

GM: In the summer I saw you play a slow show at The End, I think it was a show with Franklin. I loved it though and thought it was cool, people should be more open to slow stuff. Have you made your album cover yet?

TG: Yeah Franklin made it actually.

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GM: Oh cool, I love Frank. He's actually a really good graphic designer. Did you work with him on any of the music too?

TG: Not for this project, that’s all me. But the cover is like the Titanic pose. I saw a meme of the Titanic somewhere and just thought it was funny.

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TG: PaY 2 W!N was the first album in a narrative concept series. It started off with a 3D avatar, eventually progressing to me using my actual self.

GM: Is that where those AI images come in?

TG: Yeah, exactly. The story follows me—or my avatar—starting out as a street criminal, moving up to becoming a CEO. Then the IRS discovers tax fraud, so the character goes on trial and joins the army to avoid prison. That’s the narrative of Pay to Win.

Ultraviolence is set on the battlefield, where the character witnesses the brutalities of humanity and becomes overexposed to everything. It’s like A Clockwork Orange, or like the Ludovico treatment.

Perfekt Person is the aftermath—returning home from the army. The character now has a “perfect life,” they're kind of spiritually reformed. It’s a satire of military propaganda, where they promise that serving will make you a better person.

GM: I wasn’t sure if some of those pictures were real or not.

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TG: That’s part of it—it ties back to the beginning and rehashes the whole lore, but with a focus on spiritual reformation. Perfekt Person is also like a satire of the social justice movement, you know the way people police each other as if everyone else is imperfect, but they themselves are morally flawless or something like that.

Like the idea of moral absolutism—the belief that you’re holier than others—that to me is the root of all evil. It reminds me of that quote, “All evil in the world is committed by people who thought they were doing good.”

GM: That’s so true.

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TG: I sampled a couple of things for the album, like an audio from a scam Bible I found on YouTube.

GM: Scam Bible? What’s that?

Tommy: It’s a guide scammers use to learn methods for fraud. You can hear it on this track:

TG: It all relates to the theme of identity. That’s a central focus of the album—who we are versus who we present ourselves to be. The album cover reflects this too: I’m really into Carl Jung’s concept of the “Shadow Self.”

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GM: Jung, the psychologist?

TG: Yeah. He worked with Freud at first, but they had a falling out when Jung started disagreeing with him. Freud basically cut him off, and Jung ended up losing his career. He went through this existential crisis and created The Red Book, which is half philosophy and half personal reflections. It’s styled like a hermetic manuscript and dives into his struggle with the darker parts of himself—the same devils he spent years analyzing in others.

Jung’s big idea was the “Shadow Self”—the part of you that you hide from the world. That’s what Ultraviolence is about for me. It’s a deep dive into the shadow realm. I used samples of people being murdered in movies, for example, as a way to show evil from the perspective of good.

Good and evil coexist in balance—one doesn’t exist without the other. Like Yin and Yang. If you ignore evil and pretend it doesn’t exist, that’s when it creeps into your life and consumes you. Like I was saying before, all evils are committed by people who believe they’re incapable of engaging with evil in the first place.

The album cover shows a silhouette of the character with their shadow equally highlighted. It’s about unifying the shadow self with the actual self—to me that’s what it means to be a “perfect person.”

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You can listen to Perfekt Person here.

Photography Evadne Gonzalez
Styling Neon Baez
Clothing and jewelry worn throughout from Skip Fame and Martine Ali.