Goodnight, Sweet Betty by 68creep

68creep

“Goodnight, Sweet Betty”

[22 September 2017]

Genere:

alternative, doom, dream pop, goth, indie rock

Label / Booking

Kiss/Kill/Repeat Records

NYC’s 68Creep Release Lynch-Inspired Debut LP ‘Goodnight, Sweet Betty’

FOR FANS OF: Zola Jesus, The Kills, The Dead Weather, Black Rebel Motorcycle Club, The Raveonettes, Chrysta Bell / David Lynch

bio /about

68creep is an intriguing band, who have been dubbed “probably the most David Lynch band on earth” (Stereo Embers Magazine). Indeed, the spirit of filmmaker and musician David Lynch seems to hover above everything the band does like a mercurial patron and spiritual advisor. “What would David do?” has even become the band mantra for swerving creative blocks, ensuring that the music brims with the same essence as one of his films. The album’s name ‘Goodnight, Sweet Betty’ even derives from a quote from Lynch’s film ‘Mulholland Drive’.

68creep’s backstory even starts with a very Lynchian starting point, with John McRandle and Patrick Casey meeting at a New York City advertising agency, where they were marketing drugs designed to combat schizophrenia. The Kiss/Kill/Repeat label gave the band the backing and impetus they needed and very soon they were pushing their heavy, surreal, carny, creepcore to like-minded music fans.

About the new single, Patrick Casey (a.k.a. Catspacey) says, “I realized the song Stone Cold Kiss touches on, among other things, the murder of Nixzmary Brown, a seven year old from Brooklyn. But I didn’t know it had anything to do with her when I wrote it. Strange how you realize these things in retrospect.”

It says a lot about an artist when those trying to catch their essence in a witty sound bite move from being concise and descriptive into the realm of high literary art. Any band that can be metaphorically described as sounding like “murder at midnight” and “beautiful melodies telling me terrible things” makes for a tantalising proposition.
Inspired by numerous artists, including PJ Harvey, Dead Weather, Beach House, The Misfits, Black Sabbath, Alice Cooper and The Cramps, they offer a fusion of dark emotions, doom-laden pop, acid-laced musical retro-mania, and the dark underbelly of the hippy dream turned bad.

This new album follows their debut EP ‘The Rumors Are True’. A perfect storm is coming with the new LP, which promises more of the same dark and heavy, ethereal weird beauty and slightly tongue in cheek qualities that have become the band’s hallmark.

At the heart of this release is John McRandle’s big, earthmoving baritone guitar. It can churn out a song’s sludgy riff, or sparsely sprinkle it with a chilly melody. Drummer Patrick Casey leans into his work, riding his toms taiko style, while giving even the heaviest grooves a good hard swing. Colyn Hunt anchors the foundation with deep-in-the-pocket grooves and a taste for airy, melodic runs. Riding on top of this swell is Kimberly Seewald’s vocals. Together, 68creep wails and soars, hitting the listener hard, but every so often, also comfort and console.

“This album wouldn’t have sounded like this if it weren’t written in New York. We are always talking about how a relationship with New York is love/hate. And it’s a real relationship. This environment is gonna seep into your songs, like an ex lover might slip into a dream. Whether you want them there or not,” says Casey. “To me, New York seems to be constantly saying, ‘I’m gonna hook you up with the most talented, mind-blowing people on the planet. But don’t look for a happy ending here’…”

“Goodnight, Sweet Betty”

Who knows? Perhaps somewhere out there, David Lynch is even listening. ‘Goodnight, Sweet Betty’ will be available on all the usual streaming and store platforms, but is already available via 68creep’s Bandcamp.

<a href="http://68creep.bandcamp.com/album/goodnight-sweet-betty">“Goodnight, Sweet Betty” by 68creep</a>

STREAMING

CREDITS
Kimberly Seewald, John McRandle, Colyn Hunt, Patrick Casey
With melodic contributions from Sara Aridi, Anya Kaz, Fiona Silver, Carrie Slimski, and Anna Maliere
Managed by Tracey Keevan
Album painting by Calina Hiriza