Tag Archives: Sacred Bones Records

Inside Uniform’s Pulverizing New Album


Ben Greenberg, guitarist and programmer for the industrial punk outfit Uniform, is both proud of and baffled by his band’s new record The Long Walk. “It’s funny,” he says at the end of a 45-minute conversation, “because we haven’t done any interviews on [The Long Walk] yet, so I hadn’t summed it up. But now that I am, it’s like every part of this record was testing out a theory, and then having that theory work.” In addition to his duties in Uniform, Greenberg has been a self-employed audio engineer for seven years, meaning that there just aren’t as many new sounds for him to discover as there once were. And yet, on The Long Walk, the band found ways to innovate.

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Sacred Bones Turns Ten


Sacred bones founder Caleb Braaten, photo by Christian Count.

When Brooklyn-based Caleb Braaten started Sacred Bones in 2007, he did it with modest goals and few expectations. But in the back of his mind, he dreamt of one day working with an artist he had long admired: filmmaker and composer David Lynch. Although initially just an idle daydream, Braaten nevertheless started planning for the possibility.

“I had this idea that I was going to approach him to do something together,” he says. “I set aside a copy of every record that we had put out, every version of every record. I started amassing this box that was in the basement of Academy [Records] that said ‘David Lynch’ on it. And then maybe four years into it, the box was big enough. I was like, ‘All right, I think it’s time.'”

Braaten got as far as tracking down an address—”I was going to write a letter and basically tell him that I’m a fan, and I would like to work together someday,” he says—but happened to mention his scheme to a Los Angeles friend, who had a music attorney acquaintance he thought might be a better route.

That connection turned out to be the right one: Lynch received the box of records, thought it was “interesting,” and the lines of communication were open for Braaten to propose a reissue of the soundtrack to 1977’s Eraserhead. Lynch was on board, and a reissue surfaced in 2012. In subsequent years, Sacred Bones reissued two more experimental Lynch efforts, The Air is On Fire and Polish Night Music.

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Cheena are Messy, Glorious, and Real

Cheena. Photo by Edwina Hay for Bandcamp

It’s the most sacrosanct of critical principles: a band is never a just a band. If you want a profile written about you, if you want to get that rent money, you need a thesis, a moral, a philosophical mic drop. But Cheena could care less about parables or big pictures. They’re not your test subject or case study. They’re just a five-piece band from New York City who enjoy getting drunk and playing loud rock music, no symbolic strings attached. To them, there’s no story but the music. Everything else is just getting in the way—including, at present, yours truly.

I don’t blame Cheena for giving me a hard time during an attempt to interview them at the Brooklyn bar Post No Bills. After all, try as I might to convince myself of the contrary, I’m really just another cog in the PR machine, that loathed apparatus powered by viral hot takes and attention-grabbing narratives. These have grown even more noticeable in the face of print journalism’s trudge towards obsolescence; most online publications subsist on clicks, retweets (and of course, ad money) to survive. And so, searching for some kind of entry into the world of Cheena, I stick to the usual questions of day jobs and night moves, favorite bands and memorable shows.

For instance, when I ask “So what are the themes of this album?” lead singer Walker Behl pipes up: “Just do drugs and fall asleep.” Exasperated, the rest of the band sighs. “Hey! Everyone else at the table, shut the fuck up!” he barks, before returning to the subject at hand: “Dude. Fun stuff.” A minute or so passes, before the musician grabs his beer, and heads to the bar. He doesn’t come back.

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The Personal Politics of Anika’s New Project, Exploded View

Anika Henderson
Anika Henderson with Hugo Quezada, Hector Melgarejo, and Martin Thulin. Photo by Andrea Martínez

So far, the path of  German-English singer and political journalist Anika Henderson has been anything but conventional. She’s collaborated with Portishead’s Geoff Barrow and his band BEAK>; their experimental batch of slightly-askew pop songs became the backbone for her first self-titled album for Stones Throw. And a string of solo shows in 2014, with a backing band from Mexico City, resulted in her new project, Exploded View. The group specializes in marrying visceral, unflinching post-punk to uneasy electronics, with lyrics that address the sometimes disturbing way in which current affairs are reported in the age of 24-hour news.

In addition to Anika, Exploded View is rounded out by Hugo Quezada, Hector Melgarejo, and producer Martin Thulin (who’s worked with Crocodiles, among others), all of whom are based in Henderson, Mexico City. The band’s self-titled album is a dark, invigorating ride. Album opener “Lost Illusions” is full of dub-drenched echoes and menacing, Spaghetti Western guitar twang; “Orlando” is a slab of unsettling disco, fueled by bone-dry funk bass and needling synths; and “No More Parties in the Attic” bristles with doom-laden drones, pulsing electronics, cascading drum clatter, and Anika’s commanding vocals.

But while it’s certainly moody and atmospheric, its primary purpose is to agitate and instigate. “[Journalism is] what I was trained in,” Henderson says. “I always wanted to be a documentary journalist, because I found it interesting learning from others—being within groups, but not observing in a judgmental way. One of my heroes when I was younger was [BBC war correspondent] Kate Adie.”

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