David Lynch: Bad The John Boy
On the heels of David Lynch’s hugely successful sophomore full length, The Big Dream, comes a very limited edition 12”, Bad The John Boy. While technically this track qualifies as a non-album or bonus track, this song was made around the same time as the track, We Rolled Together. Producer Dean Hurley elaborates, “In the bridge of that song, David was trying to do this thing where he was shuffling around lyric-based sentences: "Street the up, going girl little crazy..." Bad The John Boy has this shared idea...instead of 'John the Bad Boy,' it's Bad The John Boy..."good to up no" (up to no good. This track is more left of center than the songs on the full length, with vocals being processed straight into the spirit realm, sounding deeply non-human.
Complimenting this sci-fi dirge, on the B-side is a Venetian Snares remix of the album’s title track. Despite the fact that Canadian electronic musician Aaron Funk has been known for reinventing breakcore, in this remix he breathes completely new life into this song, turning it into something far from your typical dance remix.
The Hunt: The Hunt Begins
2007. The cover art for 1st record Sacred Bones released depicted an androgynous wild banshee wearing warpaint, clad all in leather and animal bones, holding a sacrificial knife pointed at the sky. Our debut single was The Hunt's lone statement. The songs were a visceral pulsation, etched in echo. London, structure fires and mental institutions all played a part in the downfall of the originators of 21st century redskin darkwave.
2009. After multiple tumultuous attempts at recording a full length The Hunt decamped to their collective hometown, Boston, to record the ultimate document of their time on earth. This document sat for years, untouched by human hands.
2013. The Hunt lives on. In honor of both the first and one hundredth release, we will finally see and hear the toils of New York's most enigmatic post punk band of recent. Ian Danger, percussive wunderkind, Mike O'Brien, whose four strings drew blood nightly, Christian Kount, master of negative space and Jasper McGandy, the man who's hopes for a darker future led them towards a reality we only now have the honor of witnessing. After all these years the time has come. The Hunt Begins.
The Men: Campfire Songs
While holed up in a house in upstate NY, The Men took full advantage of their rural surroundings, in-house studio, and lack of recording timelines and obligations. They tracked over twenty-five songs. On top of that they also managed to record five songs acoustically, while sitting around a campfire outside the house.
Before this year is over (2012) they will have already recorded an entire new full length. To say this band is prolific is an understatement; they are teeming, borderline prodigal even. Two of these acoustic jams are alternate takes from the album, ?I Saw Her Face? and ?The Seeds?. The plugged in version of ?Water Babies? appeared on the b-side of their 7? from January, ?Patience? and ?Turn Your Color? are two entirely new beautiful tracks that highlight this band?s ability to be as gentle as they are commanding.
Wymond Miles: Cut Yourself Free
On the heels of last years critically acclaimed debut LP ?Under the Pale Moon,? and ?Earth Has Doors? EP comes the sophomore full length from Wymond Miles, guitarist of San Francisco garage-pop titans The Fresh & Onlys. ?Cut Yourself Free? assembles another convergence of moon-lit romantic swagger and post-punk massacred urgency. Again self recorded and produced to tape, Miles? song-craft has emerged more refined and poignant, benefitting from the avalanche of his frenzied live shows, but also adhering to a more minimalistic fashion with crooning mid-era Nick Cave or Bowie/Roxy Music strains of pop-modernism. But what stands at the forefront is Miles? command of his textural guitar and vintage-synth sprawl that on his choosing can open dream-like vistas, or pierce with an engine?s snarl. Turning to the narrative, Miles weaves each song with its own vignette of story line, often with a vaguely obscured protagonist/antagonist dialog. Relationships in Miles? sketches are always tangled, if not licentious affairs, but are presented more as lustrous gateways to mend and revitalize rather than squalor in.
Crystal Stilts: Nature Noir
Crystal Stilts first came to attention with a self-titled EP in 2005 and 2008?s Alight of Night, an early ripple in what would soon be perceived of as a wave of fuzzy, reverb-laden bands. The intervening years have seen the band evolve, with 2011?s robust In Love With Oblivion, and the Radiant Door EP, their debut release for Sacred Bones.
Founded by vocalist Brad Hargett and guitarist JB Townsend, Crystal Stilts have since come to include Andy Adler on bass, Keegan Cooke on drums, and organist Kyle Forester. This five-piece has come together and crafted the band?s latest LP, Nature Noir. Recorded in the spring of 2013, this newest disc finds the group expanding their palette to include strings, percussion, and synthesizers. On tracks such as "Star Crawl" and "Sticks and Stones", Hargett's vocals have a striking clarity and soulfulness, while the musical arrangements display a sophistication that may be surprising to those who previously thought of the band as "lo-fi".