Pointless Culture & Cosmic Triumph

Pointless Culture is a New Hampshire–based indie alt/rock band and the brainchild of Harrison Fantasia and Harrison Hinman. What began as a creative partnership quickly grew into a full band with the addition of bassist Nolan Cota and lead guitarist Ben Schultz, solidifying the lineup and shaping the band’s sound.

 

The band first introduced their music with their debut single “Severed Ties,” followed by the EP Can’t Stand the Rain, featuring standout track “Breakfast Song,” which helped them steadily grow their audience across the region.

 

Blending indie, alternative, punk, melodic grunge, and garage rock, Pointless Culture pulls influence from artists like The Strokes, Nirvana, early Foo Fighters, Title Fight, and modern alternative rock. Their sound pairs loud, driving guitars with catchy hooks and raw emotion, translating powerfully in a live setting.

 

In July 2025, the band released their debut full-length 15-track album, produced by Mark Robillard, marking an important step forward as they continue to build their following throughout New England and beyond.

Cosmic Triumph is a fictional band engineered as a bold, dystopian art project—part satire, part psychological experiment, and part irresistible pop spectacle. Conceived as a “psyop to control the masses and distract them from real-world problems,” the band’s entire identity blends retro-futuristic aesthetics, government-style propaganda, and mind-bending musicality. Their universe is built on the idea that Cosmic Triumph is not just a musical act, but a social engineering tool disguised as a feel-good cultural phenomenon. Every song, symbol, and broadcast is crafted to feel simultaneously uplifting, suspicious, and strangely comforting.

 

At the center of the project is multi-instrumentalist Anthony Cedrone, whose influences—The Beatles, The Beach Boys, The Velvet Underground, Donovan, and Miles Davis—shape the band’s lush arrangements and experimental edges. In the Cosmic Triumph mythos, Cedrone is portrayed as a mysteriously sanctioned figure: a state-approved musician-agent whose melodies are engineered to pacify, inspire, and redirect public consciousness. The music itself is layered, polished, and deceptively warm, drawing listeners into a sonic world that feels nostalgic yet unsettlingly intentional. Harmonies sparkle like broadcast jingles, bass lines pulse with hypnotic regularity, and lyrical themes hint at utopian promises with an undercurrent of existential dread.

Musically, Cosmic Triumph spans psychedelic pop, baroque rock, surf harmonies, and atmospheric jazz flourishes—all filtered through a shimmering, almost propagandistic clarity. Each track feels like a dispatch from an alternate timeline where government-issued music is both mandatory listening and, strangely, genuinely beautiful.