\r\n
\r\n\r\nAfter years of kicking it about playing romantic waltzes in the moonlight of The Lake District or earth shattering dirges inside a fishing net atop a billiards table in one of the burliest leather bars in NYC, they finally perfected their most convincingly delusional and effervescent sound reminiscent of Charles Ives, The Flying Burrito Brothers, Raymond Wallbank, Ludwig Van Beethoven and The Homosexuals among others. They have become an impossible ideal ready to take both The United States and the United Arab Emirates by storm!\r\n
\r\n
\r\n\r\n\r\nMost recently The Condor Moments have recorded a titan’s breakfast report of songs in the remote foothills of the Pyrenees Mountains of southern France with the mad hermit engineer/producer/musician cult hero Bob Drake. This masterwork, “And though we’re told we’ve got it all, the all we’ve got is freezing cold….”, combines the band’s shifting rhythmic ellipses, keyboard weirdness and tongue twisting vocal perversity with the unlimited epic revisionism of visionary flamboyant industrialists. For added tree hugging empowerment these cocksure wizards have added the meat rubbingly elegant vocals of Madge Daddy and Lady Dah of Blackpool’s Twilight Golden Calf as well as the underworldy deepthroat vomitsounds of humansacrifice from the noise/actionist cover band Peeinmyfacewithsurgery.\r\n
\r\n
\r\n\r\n\r\nThis CD is the most amazingly complex and purehearted collection of cinematic songclusters to be recorded since The Sun City Girls’ “300,003 Crossdressers from beyond the Rig Veda”, Ash Ra Tempel’s “7 Up!” and Fela Kuti’s “Coffins for Heads of State” combined! It is capable of simultaneously promoting healthy nudist living while welcoming all listeners to their unremembered collective past lives and psychic marshes. 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\r\n\r\nIn 2005, Deleted Scenes entered a commodious hellhole in East Baltimore to record the four songs that would make up the “Deleted Scenes” EP. Following the album’s release, the band hit the road in Scheffey’s father’s airbrushed, self-portrait slathered bread van, playing scores of dates across the US in an attempt to get people to like them.\r\n
\r\n
\r\n\r\nAfter having their van covered with faded denim in Gary, Indiana, Deleted Scenes relocated to Washington, D.C where they subsisted exclusively on Ethiopian fir-fir and recorded only raindrops for three months.\r\n
\r\n
\r\n\r\nIt was around this time in 2007 that Deleted Scenes stumbled upon a surrealistic plop of a record called “Sookie Jump” by one “L. Skell” (of The Rude Staircase), and immediately went on a crusade to hunt down the now bald and olfactorily unpleasant recluse. Wearing sneakers, the band drove up to Skell’s West Philadelphia dungeon, only to find him in a salvia, nutmeg and EPMD-induced stupor. After haranguing him for 10 straight hours, Skell finally agreed to help in the creation of what would become “Birdseed Shirt”.\r\n
\r\n
\r\n\r\nFollowing tender sessions with heroic soundsmith J. Robbins, the band holed up in Skell’s dark, dank hermitage for 17 months collecting like stamps every last perfumed essence of sound until what resulted was not only a mellifluous, anthemic collage of existential joy and despair, but the best pop record of 2009. Dig!\r\n
\r\n
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\r\nFor centuries, Santoalla was a thriving village; home to farmers, blacksmiths, cobblers and shepherds. But, during the late-20th century, as the world modernized, earning a living by these traditional means became increasingly difficult. The residents began emigrating to other European countries in search of a better way of life.\r\n
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\r\nYears passed and Santoalla fell into disrepair; the remaining houses slowly decaying as portions of the old slate rooftops collapsed with each passing storm. After a while, Manolo Rodríguez, his wife Jovita and their sons were the only ones who remained. Able to hold onto a sizable piece of land and a herd of cows, they stubbornly refused to leave their home, as their neighbors fled. The family lived alone, in isolation...until 1997.\r\n
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\r\nMartin Verfondern and Margo Pool left Holland in search of a quiet place where they could live out their dream. They wanted to start an organic farm and survive off the land; to escape the bureaucracies and hassles of city life. For over two years, they traveled throughout Europe and Asia in an RV looking for the perfect place to settle down. And when they stumbled upon Santoalla in 1997, they knew right away, that it was going to be home.\r\n
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\r\nThe couple bought an abandoned stable and set to work turning it into a house. The future looked bright...and the possibilities for creating the life they had so coveted, seemed endless. But, things didn't work out the way they had planned. \r\n
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\r\nMartin had a vision for his adopted home that seemed to be at odds with everyone around him; to save Santoalla from ruin. And soon, he began lobbying to improve the village's conditions.\r\n
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\r\nBut, Martin's advocacy was only met with resistance, sparking tension between the foreigner, his neighbors. Frustrated, Martin believed that his status as an outsider prevented anyone from taking his ideas and demands seriously. But, his resolve only grew stronger. Martin mounted a press campaign to shed light on Santoalla's problems, denouncing both the Rodríguez family for refusing to support his plans to restore the village. Making matters worse, Martin and Margo became embroiled in a heated court battle with their neighbors over a land dispute, giving the once-tranquil village of Santoalla a notorious reputation.\r\n
\r\n
\r\nOn the rainy morning of January 19th, 2010, Martin drove out of Santoalla, navigating the nearly ten kilometers of switchbacks that snaked through the steep hills, down into a neighboring town. At approximately 11 a.m., he walked into a local market and purchased some food and supplies for the coming week. Later that afternoon, several people spotted his noisy, rust speckled SUV roaring through the local plaza, as it headed up towards the long, winding road leading back to Santoalla. It was the last time Martin Verfondern was ever seen.\r\n
\r\n
\r\nIn the months following his disappearance, investigators scoured the countryside for any sign of Martin and his car; to no avail. As months turned to years, Margo did her best to move on, attempting to build the life she and Martin had once envisioned. \r\n
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\r\nBy 2014, life in Santoalla seemed to have returned to normal. But, a grisly discovery that June, sparked a new investigation into Martin Verfondern's disappearance; one that exposed the dark secrets hidden by this desolate village. ","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:16-04:00","updated_at":"2017-07-09T12:25:58-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31537992009"},{"id":31537992137,"namespace":"custom_fields","key":"release_date","value":1467390358,"description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:17-04:00","updated_at":"2024-10-03T18:58:30-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31537992137"},{"id":31537992265,"namespace":"custom_fields","key":"dark_text_overlay","value":0,"description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:17-04:00","updated_at":"2024-10-03T16:07:54-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31537992265"},{"id":31538088649,"namespace":"custom_fields","key":"artist","value":"Santoalla","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:31:15-04:00","updated_at":"2017-05-04T02:31:15-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538088649"},{"id":31538176841,"namespace":"custom_fields","key":"subtitle","value":"\"An engrossingly atmospheric true crime tale of village strife\" — Hollywood Reporter","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:43:44-04:00","updated_at":"2017-05-17T00:18:24-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538176841"},{"id":31800786761,"namespace":"custom_fields","key":"video","value":"Santoalla_Village_1-looped-out.mp4","description":null,"owner_id":9354457929,"created_at":"2017-05-13T16:18:16-04:00","updated_at":"2017-05-13T16:18:16-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31800786761"},{"id":32429731593,"namespace":"custom_fields","key":"single_column_description","value":0,"description":null,"owner_id":9354457929,"created_at":"2017-06-11T10:09:22-04:00","updated_at":"2024-10-05T08:50:09-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32429731593"},{"id":33210010057,"namespace":"custom_fields","key":"trailer","value":"https://s3.amazonaws.com/whatdelicate/santoalla/santoalla-trailer.mp4","description":null,"owner_id":9354457929,"created_at":"2017-07-08T18:23:22-04:00","updated_at":"2017-07-08T18:23:22-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/33210010057"}]},{"id":9240405833,"title":"Heartbreak Record","body_html":"
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The lacerations to his face and nasal passages made emergency surgery imperative, resulting in the removal of his Jacobson’s organ - a peripheral sensory organ of the accessory olfactory system.\r\nHaving previously relied on this largely unknown physiological instrument to decode and interpolate rhythm, frequency and timbre (a rare form of synesthesia) Becker immediately saw his musical aspirations dashed.\r\nDejected and insolvent, Becker borrowed a lime green tank top from a Milford mystic and rode a shetland pony back to Los Angeles. At home, he set up a store on the Silk Road to sell his one last possession of value - a platinum-plated lock of hair extracted from the stand-in orangutan from silver screen sparkler, “Dunston Checks In”. With the handsome proceeds, Becker purchased a collection of laser discs from the estate of Jan-Michael Vincent and devised a plan to invert his routine musical sources and methods. Relying strictly on his visual sense, he clicked off the volume and set about rewriting the scores to the bounty of cinematic gems found in Vincent’s trove.\r\nThe title sequence to Sam Peckinpah’s epic “The Wild Bunch\" became the backdrop for opener, “Hoosi, No!”, a slovenly marriage of stately beauty and insidious violence. The eerie excavations of Harvard Sensory Ethnography Lab masterpiece, “Leviathan”, spurred the lurching, unnerving, “Zwunck”, while a collection of Central American Manakin mating ritual clips prodded on the sturdy, sumptuous ravings of “80 All Over”. Before long, Becker had drawn inspiration from the repetitive disorientation of Stan Brakhage’s “Dog Star Man” (“Some Small Anti-Christ At The Art Show”) and Hollis Frampton’s ruin of memory on “Nostalgia” (“Love Song For H.R. 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But, after years of working in relative isolation, he decided to make a definitive procedural modification…to reach out beyond his secluded silo and seek out a delicate production hand that could help grease the erstwhile musical machine.\r\n\r\nThat spring, after many dead-end investigations, AB managed to track down old friend and peripatetic troubadour, L. Skell (creator of entombed classic, Eldridge Skell’s The Rude Staircase’s “Sookie Jump”), who had spent the weirder part of a decade skiff hopping throughout Central America, convincing him to abscond north of the border to embark on a hellishly phantasmagoric musical journey.\r\n\r\nFor months, the two holed up in Becker’s fetid Los Angeles biodome, reinvigorating old oddities, while ushering in entirely new paradigms of creation. In order to demystify a sketch Becker had been working on, the pair employed rigid parameters, limiting themselves to one hour of clandestine solo work on the song, before turning it back to the other to do the same, every hour, over the course of an entire day. The result was “Clear Notes for a New National Anthem”, a jiggy ditty that flops and seizes before nose diving into the bawdy bowels of a Wichita disco. “Cut Worm Forgets the Plow” swaths a synth-pop anthem in a sampledelic glaze, while “A Witch for Charlemagne” oozes no wave leakage over mellifluous peacocking. The poptones of “You Only Love What You Can Lose” is preordained to breach the steadfast emotional dams of the black-hearted, while title track, “I Write Weddings Songs” leads the listener on an illusory montage of lost loves and derelict dreams before climbing safely into the saddle of its idyllic climax. Before it was all said and done, Becker had brought other contributors into the fold, including former Screens bandmate (and Apes singer) Breck Brunson, as well as vocalist Amira Nader, who imprinted the proceedings with their inimitable melodic stylings.\r\n\r\nLike all previous Human Potential album art, Becker dove into his personal archives for inspiration, this time pulling an image captured at his parents’ wedding reception many decades ago. The juxtaposition of the celebratory union with the divorce that would upend the marriage some years later, embodies the idea that memories, moments and life-defining songs shift tonally with the ebbs and flows that chart our existence. 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Moments","updated_at":"2020-12-17T02:43:40-05:00","body_html":"","published_at":"2017-05-07T22:34:30-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/374715401","metafields":[{"id":31649602249,"namespace":"custom_fields","key":"description","value":"Spawned somewhere between the colored crystal rock caves of Preston and the elegant seaside hostility of Blackpool, the Condor Moments have seamlessly reinvented a music of ritual suicide and crack-party dengue fever. The group was formed in 1985 by keyboardist/singer Richy Midnight and drummer The Real David Grey from the still warm embers of the anarcho-pop theorists Cheap Kojak. Using tiki torches and water balloons the duo started writing some of the most challenging campfire songs to hit the dirt since Casey and the Sunshine Acid Blues Crawlers. Later joined by the miraculous bass player Gregory Pex they were now a true power trio fully prepared to press on and conquer with tender provocation while always ready for cooking a big roast. The sparkle donkey hides its young before it shines its rainbow. Eventually the trio was joined by unhinged guitar legend Brucie Millions between his stints in regional penitentiaries of northern New Jersey, USA and nothing would ever be the same.\r\n
\r\n
\r\n\r\nAfter years of kicking it about playing romantic waltzes in the moonlight of The Lake District or earth shattering dirges inside a fishing net atop a billiards table in one of the burliest leather bars in NYC, they finally perfected their most convincingly delusional and effervescent sound reminiscent of Charles Ives, The Flying Burrito Brothers, Raymond Wallbank, Ludwig Van Beethoven and The Homosexuals among others. They have become an impossible ideal ready to take both The United States and the United Arab Emirates by storm!\r\n
\r\n
\r\n\r\n\r\nMost recently The Condor Moments have recorded a titan’s breakfast report of songs in the remote foothills of the Pyrenees Mountains of southern France with the mad hermit engineer/producer/musician cult hero Bob Drake. This masterwork, “And though we’re told we’ve got it all, the all we’ve got is freezing cold….”, combines the band’s shifting rhythmic ellipses, keyboard weirdness and tongue twisting vocal perversity with the unlimited epic revisionism of visionary flamboyant industrialists. For added tree hugging empowerment these cocksure wizards have added the meat rubbingly elegant vocals of Madge Daddy and Lady Dah of Blackpool’s Twilight Golden Calf as well as the underworldy deepthroat vomitsounds of humansacrifice from the noise/actionist cover band Peeinmyfacewithsurgery.\r\n
\r\n
\r\n\r\n\r\nThis CD is the most amazingly complex and purehearted collection of cinematic songclusters to be recorded since The Sun City Girls’ “300,003 Crossdressers from beyond the Rig Veda”, Ash Ra Tempel’s “7 Up!” and Fela Kuti’s “Coffins for Heads of State” combined! It is capable of simultaneously promoting healthy nudist living while welcoming all listeners to their unremembered collective past lives and psychic marshes. This music is more than simply food, as it exists in the spirit of science fiction and the mode of sheer mindless bootyshakin’ joy!\r\n","description":null,"owner_id":374715401,"created_at":"2017-05-08T09:23:09-04:00","updated_at":"2017-05-28T20:26:49-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31649602249"},{"id":31649602313,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374715401,"created_at":"2017-05-08T09:23:10-04:00","updated_at":"2024-10-05T08:49:22-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31649602313"},{"id":32138055113,"namespace":"custom_fields","key":"newest_record_title","value":"and though we're told we've got it all, the all we've got is freezing cold...","description":null,"owner_id":374715401,"created_at":"2017-05-28T20:26:49-04:00","updated_at":"2017-06-10T22:07:07-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32138055113"},{"id":32138111625,"namespace":"custom_fields","key":"landscapeimage","value":"
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\r\n
\r\n\r\nIn 2005, Deleted Scenes entered a commodious hellhole in East Baltimore to record the four songs that would make up the “Deleted Scenes” EP. Following the album’s release, the band hit the road in Scheffey’s father’s airbrushed, self-portrait slathered bread van, playing scores of dates across the US in an attempt to get people to like them.\r\n
\r\n
\r\n\r\nAfter having their van covered with faded denim in Gary, Indiana, Deleted Scenes relocated to Washington, D.C where they subsisted exclusively on Ethiopian fir-fir and recorded only raindrops for three months.\r\n
\r\n
\r\n\r\nIt was around this time in 2007 that Deleted Scenes stumbled upon a surrealistic plop of a record called “Sookie Jump” by one “L. Skell” (of The Rude Staircase), and immediately went on a crusade to hunt down the now bald and olfactorily unpleasant recluse. Wearing sneakers, the band drove up to Skell’s West Philadelphia dungeon, only to find him in a salvia, nutmeg and EPMD-induced stupor. After haranguing him for 10 straight hours, Skell finally agreed to help in the creation of what would become “Birdseed Shirt”.\r\n
\r\n
\r\n\r\nFollowing tender sessions with heroic soundsmith J. Robbins, the band holed up in Skell’s dark, dank hermitage for 17 months collecting like stamps every last perfumed essence of sound until what resulted was not only a mellifluous, anthemic collage of existential joy and despair, but the best pop record of 2009. Dig!\r\n
\r\n
\r\n\r\n“Birdseed Shirt”, Deleted Scenes first full length record, unclenches your chest and pours sonic Elysian Fields inside, water- boarding your viscera with unspeakably catchy hooks and unbridled, youthful senescence.\r\n","description":null,"owner_id":374715273,"created_at":"2017-05-08T09:23:18-04:00","updated_at":"2017-05-28T18:42:51-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31649604105"},{"id":31649604169,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374715273,"created_at":"2017-05-08T09:23:18-04:00","updated_at":"2024-10-03T13:13:15-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31649604169"},{"id":32137564233,"namespace":"custom_fields","key":"landscapeimage","value":"
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\n","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:58-04:00","updated_at":"2024-09-09T12:41:52-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508489"},{"id":31411508553,"namespace":"custom_fields","key":"thumbnailimage","value":"
\n","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:58-04:00","updated_at":"2024-09-09T12:41:53-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508553"},{"id":31411508809,"namespace":"custom_fields","key":"description","value":"“I Write Wedding Songs” is the sixth release by Human Potential - the solo project of Andrew Becker; an award-winning filmmaker and former drummer for both Dischord Records’ band, Medications, and Brooklyn provocateurs, Screens.\r\n\r\n
\r\n
\r\n\r\nIn 2023, following the release of his fifth record, “Hoosi, No!”, Becker resolved to create a follow up album that would aesthetically upend and melodically transgress his most recent batch of cosmic slop. But, after years of working in relative isolation, he decided to make a definitive procedural modification…to reach out beyond his secluded silo and seek out a delicate production hand that could help grease the erstwhile musical machine.\r\n\r\n
\r\n
\r\n\r\nThat spring, after many dead-end investigations, AB managed to track down old friend and peripatetic troubadour, L. Skell (creator of entombed classic, Eldridge Skell’s The Rude Staircase’s “Sookie Jump”), who had spent the weirder part of a decade skiff hopping throughout Central America, convincing him to abscond north of the border to embark on a hellishly phantasmagoric musical journey.\r\n\r\n
\r\n
\r\n\r\nFor months, the two holed up in Becker’s fetid Los Angeles biodome, reinvigorating old oddities, while ushering in entirely new paradigms of creation. In order to demystify a sketch Becker had been working on, the pair employed rigid parameters, limiting themselves to one hour of clandestine solo work on the song, before turning it back to the other to do the same, every hour, over the course of an entire day. The result was “Clear Notes for a New National Anthem”, a jiggy ditty that flops and seizes before nose diving into the bawdy bowels of a Wichita disco. “Cut Worm Forgets the Plow” swaths a synth-pop anthem in a sampledelic glaze, while “A Witch for Charlemagne” oozes no wave leakage over mellifluous peacocking. The poptones of “You Only Love What You Can Lose” is preordained to breach the steadfast emotional dams of the black-hearted, while title track, “I Write Weddings Songs” leads the listener on an illusory montage of lost loves and derelict dreams before climbing safely into the saddle of its idyllic climax. Before it was all said and done, Becker had brought other contributors into the fold, including former Screens bandmate (and Apes singer) Breck Brunson, as well as vocalist Amira Nader, who imprinted the proceedings with their inimitable melodic stylings.\r\n\r\n
\r\n
\r\n\r\n\r\nLike all previous Human Potential album art, Becker dove into his personal archives for inspiration, this time pulling an image captured at his parents’ wedding reception many decades ago. The juxtaposition of the celebratory union with the divorce that would upend the marriage some years later, embodies the idea that memories, moments and life-defining songs shift tonally with the ebbs and flows that chart our existence. So it goes.\r\n\r\n
\r\n
\r\n\r\nAlas, “I Write Wedding Songs” is perhaps the most sonically sensuous and bafflingly palatable Human Potential album to date - a chimerical flavor rainbow of glistening, grimy, grandiose pop that inhales darkly and seethes brightly, welcoming all listeners to a shady place where joy and heartbreak dance together in a moonlit tidepool of teetering radiance.\r\n\r\n
\r\n
\r\n\r\n“I Write Wedding Songs”, released on Becker’s own What Delicate Recordings, is out now.","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:59-04:00","updated_at":"2024-11-15T07:32:48-05:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508809"},{"id":31438723401,"namespace":"custom_fields","key":"newest_record_title","value":"I Write Wedding Songs","description":null,"owner_id":372143561,"created_at":"2017-04-30T21:25:52-04:00","updated_at":"2024-09-09T12:41:53-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31438723401"},{"id":31633050889,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":372143561,"created_at":"2017-05-07T15:26:47-04:00","updated_at":"2024-10-04T02:29:31-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31633050889"},{"id":32450913033,"namespace":"custom_fields","key":"precedence","value":"1","description":null,"owner_id":372143561,"created_at":"2017-06-12T10:09:26-04:00","updated_at":"2017-06-12T10:09:26-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32450913033"}]},{"id":374095817,"handle":"pictures","title":"Pictures","updated_at":"2020-12-17T02:11:49-05:00","body_html":"","published_at":"2017-05-04T02:45:51-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/374095817","metafields":[{"id":31538209353,"namespace":"custom_fields","key":"description","value":"Andrew Becker and Daniel Mehrer are filmmakers from Brooklyn, New York. Santoalla is their first film together.\r\n
\r\n
\r\n\r\nFOR INQUIRES CONTACT: pictures@whatdelicate.com\r\n\r\n","description":null,"owner_id":374095817,"created_at":"2017-05-04T02:50:16-04:00","updated_at":"2017-05-12T23:06:18-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538209353"},{"id":31782467785,"namespace":"custom_fields","key":"is_artist","value":0,"description":null,"owner_id":374095817,"created_at":"2017-05-12T23:06:19-04:00","updated_at":"2024-10-03T13:13:32-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31782467785"}]},{"id":375782153,"handle":"santoalla","title":"Santoalla","updated_at":"2020-12-17T02:11:49-05:00","body_html":"","published_at":"2017-05-13T12:05:34-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/375782153","metafields":[{"id":31799896201,"namespace":"custom_fields","key":"description","value":"Progressive Dutch couple, Martin Verfondern and Margo Pool, had only one dream – to live off the land, far from the constraints and complications of the city. \r\n
\r\n
\r\n\r\nBut, when they arrive in the crumbling, Spanish village of Santoalla, the foreigners challenge the traditions of the town's sole remaining family, igniting a decade-long conflict that culminates in Martin's mysterious disappearance. \r\n
\r\n
\r\n\r\nAs this once forgotten landscape is thrust into the center of controversy, Margo finds herself searching not only for answers, but for the strength to persevere.\r\n","description":null,"owner_id":375782153,"created_at":"2017-05-13T12:06:20-04:00","updated_at":"2017-05-13T12:06:20-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31799896201"},{"id":31799896265,"namespace":"custom_fields","key":"is_artist","value":0,"description":null,"owner_id":375782153,"created_at":"2017-05-13T12:06:20-04:00","updated_at":"2024-10-06T02:17:34-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31799896265"}]},{"id":374713673,"handle":"screens","title":"Screens","updated_at":"2020-12-17T02:13:46-05:00","body_html":"","published_at":"2017-05-07T22:23:01-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/374713673","metafields":[{"id":31639995529,"namespace":"custom_fields","key":"newest_record_title","value":"Dead House","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:48:00-04:00","updated_at":"2017-05-07T23:48:00-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31639995529"},{"id":31639996169,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374713673,"created_at":"2017-05-07T23:48:00-04:00","updated_at":"2024-10-03T10:23:16-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31639996169"},{"id":31640170377,"namespace":"custom_fields","key":"landscapeimage","value":"
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\r\n\r\nAfter bonding over their mutual affection for Harry Partch, Harry Nilsson and Harry Pussy, the quartet began congregating in a Lavvu above a Sami fish market, perfecting a sound that simultaneously sounded like a soothing Congolese dust storm and a toddler exploding in the night. Following countless frenzied shows in the moistest of east coast squats, Screens decamped to the rock and roll mecca of Hockessin, Delaware with reclusive and DMT diluted super-producer, L. Skell (remarkably overweight genius behind 2007’s unheralded classic “Eldridge Skell’s The Rude Staircase – Sookie Jump”) and engineer, Nick Krill (The Spinto Band), to craft a spirited mess of unbridled dystopia slathered in a rich, pasty, psychedelic batter. ","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:57:48-04:00","updated_at":"2017-06-10T21:47:45-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31640184201"},{"id":31671089993,"namespace":"custom_fields","key":"thumbnailimage","value":"
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\r\n\r\nFOR SALES INQUIRES CONTACT: sales@whatdelicate.com\r\n
\r\n
\r\n\r\nFOR ALL OTHER INQUIRIES CONTACT ANDREW BECKER: andrew@whatdelicate.com\r\n","description":null,"owner_id":374096073,"created_at":"2017-05-04T02:50:37-04:00","updated_at":"2017-05-04T02:50:37-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538211529"}]},{"id":384997193,"handle":"eldridge-skells-the-rude-staircase","title":"The Rude Staircase","updated_at":"2020-12-17T03:50:28-05:00","body_html":"","published_at":"2017-06-22T16:03:16-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/384997193","metafields":[{"id":32714252297,"namespace":"custom_fields","key":"newest_record_title","value":"Sookie Jump","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2017-06-22T16:04:10-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714252297"},{"id":32714252361,"namespace":"custom_fields","key":"description","value":"The story of Eldridge Skell’s The Rude Staircase begins with a hearty appetite for transpollinated thought patterns, a dead-end job doing thankless invigilation at the Mardi Gras Indian Museum in New Orleans, LA and a natural inclination towards the transcendentalism of misty hilltops. The group’s founder and leader L. Skell honed his sonic hypnotism by woodshedding in the backroom of Misty Cleavage’s Mississippi Moon Dancerie. But this night train would not flag the sundown lighter any longer. He soon moved his outboard vision quest to the cultural hotspot of Washington D.C. where he began a long distance disembodied stalking of Dagmar Krause.\r\n
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\r\n\r\nIt was around this time, while sleeping and rehearsing in a tiny scummy flooded basement, that he met his musical soulmates LoveLace-on-Tape and Vaclav Havel. This initial trio of guitar, mandoraphone and electric tuba sounded like a bangled stripper humping John Trubee’s The Ugly Janitors of America after beating the cathartic raindrops out of both Wingtip Sloat and Tragic Mulatto. They continued crafting songs and playing gigs while hatching their masterplan for making a record of all out feathercloud mindfuckery and torrential lift-off! This was destined to be the best band to come out of DC since Beefeater and The Make Up.\r\n
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The group was formed in 1985 by keyboardist/singer Richy Midnight and drummer The Real David Grey from the still warm embers of the anarcho-pop theorists Cheap Kojak. Using tiki torches and water balloons the duo started writing some of the most challenging campfire songs to hit the dirt since Casey and the Sunshine Acid Blues Crawlers. Later joined by the miraculous bass player Gregory Pex they were now a true power trio fully prepared to press on and conquer with tender provocation while always ready for cooking a big roast. The sparkle donkey hides its young before it shines its rainbow. Eventually the trio was joined by unhinged guitar legend Brucie Millions between his stints in regional penitentiaries of northern New Jersey, USA and nothing would ever be the same.\r\n
\r\n
\r\n\r\nAfter years of kicking it about playing romantic waltzes in the moonlight of The Lake District or earth shattering dirges inside a fishing net atop a billiards table in one of the burliest leather bars in NYC, they finally perfected their most convincingly delusional and effervescent sound reminiscent of Charles Ives, The Flying Burrito Brothers, Raymond Wallbank, Ludwig Van Beethoven and The Homosexuals among others. They have become an impossible ideal ready to take both The United States and the United Arab Emirates by storm!\r\n
\r\n
\r\n\r\n\r\nMost recently The Condor Moments have recorded a titan’s breakfast report of songs in the remote foothills of the Pyrenees Mountains of southern France with the mad hermit engineer/producer/musician cult hero Bob Drake. This masterwork, “And though we’re told we’ve got it all, the all we’ve got is freezing cold….”, combines the band’s shifting rhythmic ellipses, keyboard weirdness and tongue twisting vocal perversity with the unlimited epic revisionism of visionary flamboyant industrialists. For added tree hugging empowerment these cocksure wizards have added the meat rubbingly elegant vocals of Madge Daddy and Lady Dah of Blackpool’s Twilight Golden Calf as well as the underworldy deepthroat vomitsounds of humansacrifice from the noise/actionist cover band Peeinmyfacewithsurgery.\r\n
\r\n
\r\n\r\n\r\nThis CD is the most amazingly complex and purehearted collection of cinematic songclusters to be recorded since The Sun City Girls’ “300,003 Crossdressers from beyond the Rig Veda”, Ash Ra Tempel’s “7 Up!” and Fela Kuti’s “Coffins for Heads of State” combined! It is capable of simultaneously promoting healthy nudist living while welcoming all listeners to their unremembered collective past lives and psychic marshes. 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\r\n\r\nIn 2005, Deleted Scenes entered a commodious hellhole in East Baltimore to record the four songs that would make up the “Deleted Scenes” EP. Following the album’s release, the band hit the road in Scheffey’s father’s airbrushed, self-portrait slathered bread van, playing scores of dates across the US in an attempt to get people to like them.\r\n
\r\n
\r\n\r\nAfter having their van covered with faded denim in Gary, Indiana, Deleted Scenes relocated to Washington, D.C where they subsisted exclusively on Ethiopian fir-fir and recorded only raindrops for three months.\r\n
\r\n
\r\n\r\nIt was around this time in 2007 that Deleted Scenes stumbled upon a surrealistic plop of a record called “Sookie Jump” by one “L. Skell” (of The Rude Staircase), and immediately went on a crusade to hunt down the now bald and olfactorily unpleasant recluse. Wearing sneakers, the band drove up to Skell’s West Philadelphia dungeon, only to find him in a salvia, nutmeg and EPMD-induced stupor. After haranguing him for 10 straight hours, Skell finally agreed to help in the creation of what would become “Birdseed Shirt”.\r\n
\r\n
\r\n\r\nFollowing tender sessions with heroic soundsmith J. Robbins, the band holed up in Skell’s dark, dank hermitage for 17 months collecting like stamps every last perfumed essence of sound until what resulted was not only a mellifluous, anthemic collage of existential joy and despair, but the best pop record of 2009. Dig!\r\n
\r\n
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\r\nFor centuries, Santoalla was a thriving village; home to farmers, blacksmiths, cobblers and shepherds. But, during the late-20th century, as the world modernized, earning a living by these traditional means became increasingly difficult. The residents began emigrating to other European countries in search of a better way of life.\r\n
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\r\nYears passed and Santoalla fell into disrepair; the remaining houses slowly decaying as portions of the old slate rooftops collapsed with each passing storm. After a while, Manolo Rodríguez, his wife Jovita and their sons were the only ones who remained. Able to hold onto a sizable piece of land and a herd of cows, they stubbornly refused to leave their home, as their neighbors fled. The family lived alone, in isolation...until 1997.\r\n
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\r\nMartin Verfondern and Margo Pool left Holland in search of a quiet place where they could live out their dream. They wanted to start an organic farm and survive off the land; to escape the bureaucracies and hassles of city life. For over two years, they traveled throughout Europe and Asia in an RV looking for the perfect place to settle down. And when they stumbled upon Santoalla in 1997, they knew right away, that it was going to be home.\r\n
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\r\nThe couple bought an abandoned stable and set to work turning it into a house. The future looked bright...and the possibilities for creating the life they had so coveted, seemed endless. But, things didn't work out the way they had planned. \r\n
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\r\nMartin had a vision for his adopted home that seemed to be at odds with everyone around him; to save Santoalla from ruin. And soon, he began lobbying to improve the village's conditions.\r\n
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\r\nBut, Martin's advocacy was only met with resistance, sparking tension between the foreigner, his neighbors. Frustrated, Martin believed that his status as an outsider prevented anyone from taking his ideas and demands seriously. But, his resolve only grew stronger. Martin mounted a press campaign to shed light on Santoalla's problems, denouncing both the Rodríguez family for refusing to support his plans to restore the village. Making matters worse, Martin and Margo became embroiled in a heated court battle with their neighbors over a land dispute, giving the once-tranquil village of Santoalla a notorious reputation.\r\n
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\r\nOn the rainy morning of January 19th, 2010, Martin drove out of Santoalla, navigating the nearly ten kilometers of switchbacks that snaked through the steep hills, down into a neighboring town. At approximately 11 a.m., he walked into a local market and purchased some food and supplies for the coming week. Later that afternoon, several people spotted his noisy, rust speckled SUV roaring through the local plaza, as it headed up towards the long, winding road leading back to Santoalla. It was the last time Martin Verfondern was ever seen.\r\n
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\r\nIn the months following his disappearance, investigators scoured the countryside for any sign of Martin and his car; to no avail. As months turned to years, Margo did her best to move on, attempting to build the life she and Martin had once envisioned. \r\n
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\r\n\r\nIt was around this time, while sleeping and rehearsing in a tiny scummy flooded basement, that he met his musical soulmates LoveLace-on-Tape and Vaclav Havel. This initial trio of guitar, mandoraphone and electric tuba sounded like a bangled stripper humping John Trubee’s The Ugly Janitors of America after beating the cathartic raindrops out of both Wingtip Sloat and Tragic Mulatto. They continued crafting songs and playing gigs while hatching their masterplan for making a record of all out feathercloud mindfuckery and torrential lift-off! This was destined to be the best band to come out of DC since Beefeater and The Make Up.\r\n
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Moments","updated_at":"2020-12-17T02:43:40-05:00","body_html":"","published_at":"2017-05-07T22:34:30-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/374715401","metafields":[{"id":31649602249,"namespace":"custom_fields","key":"description","value":"Spawned somewhere between the colored crystal rock caves of Preston and the elegant seaside hostility of Blackpool, the Condor Moments have seamlessly reinvented a music of ritual suicide and crack-party dengue fever. The group was formed in 1985 by keyboardist/singer Richy Midnight and drummer The Real David Grey from the still warm embers of the anarcho-pop theorists Cheap Kojak. Using tiki torches and water balloons the duo started writing some of the most challenging campfire songs to hit the dirt since Casey and the Sunshine Acid Blues Crawlers. Later joined by the miraculous bass player Gregory Pex they were now a true power trio fully prepared to press on and conquer with tender provocation while always ready for cooking a big roast. The sparkle donkey hides its young before it shines its rainbow. Eventually the trio was joined by unhinged guitar legend Brucie Millions between his stints in regional penitentiaries of northern New Jersey, USA and nothing would ever be the same.\r\n
\r\n
\r\n\r\nAfter years of kicking it about playing romantic waltzes in the moonlight of The Lake District or earth shattering dirges inside a fishing net atop a billiards table in one of the burliest leather bars in NYC, they finally perfected their most convincingly delusional and effervescent sound reminiscent of Charles Ives, The Flying Burrito Brothers, Raymond Wallbank, Ludwig Van Beethoven and The Homosexuals among others. They have become an impossible ideal ready to take both The United States and the United Arab Emirates by storm!\r\n
\r\n
\r\n\r\n\r\nMost recently The Condor Moments have recorded a titan’s breakfast report of songs in the remote foothills of the Pyrenees Mountains of southern France with the mad hermit engineer/producer/musician cult hero Bob Drake. This masterwork, “And though we’re told we’ve got it all, the all we’ve got is freezing cold….”, combines the band’s shifting rhythmic ellipses, keyboard weirdness and tongue twisting vocal perversity with the unlimited epic revisionism of visionary flamboyant industrialists. For added tree hugging empowerment these cocksure wizards have added the meat rubbingly elegant vocals of Madge Daddy and Lady Dah of Blackpool’s Twilight Golden Calf as well as the underworldy deepthroat vomitsounds of humansacrifice from the noise/actionist cover band Peeinmyfacewithsurgery.\r\n
\r\n
\r\n\r\n\r\nThis CD is the most amazingly complex and purehearted collection of cinematic songclusters to be recorded since The Sun City Girls’ “300,003 Crossdressers from beyond the Rig Veda”, Ash Ra Tempel’s “7 Up!” and Fela Kuti’s “Coffins for Heads of State” combined! It is capable of simultaneously promoting healthy nudist living while welcoming all listeners to their unremembered collective past lives and psychic marshes. This music is more than simply food, as it exists in the spirit of science fiction and the mode of sheer mindless bootyshakin’ joy!\r\n","description":null,"owner_id":374715401,"created_at":"2017-05-08T09:23:09-04:00","updated_at":"2017-05-28T20:26:49-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31649602249"},{"id":31649602313,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374715401,"created_at":"2017-05-08T09:23:10-04:00","updated_at":"2024-10-05T08:49:22-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31649602313"},{"id":32138055113,"namespace":"custom_fields","key":"newest_record_title","value":"and though we're told we've got it all, the all we've got is freezing cold...","description":null,"owner_id":374715401,"created_at":"2017-05-28T20:26:49-04:00","updated_at":"2017-06-10T22:07:07-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32138055113"},{"id":32138111625,"namespace":"custom_fields","key":"landscapeimage","value":"
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\r\n
\r\n\r\nIn 2005, Deleted Scenes entered a commodious hellhole in East Baltimore to record the four songs that would make up the “Deleted Scenes” EP. Following the album’s release, the band hit the road in Scheffey’s father’s airbrushed, self-portrait slathered bread van, playing scores of dates across the US in an attempt to get people to like them.\r\n
\r\n
\r\n\r\nAfter having their van covered with faded denim in Gary, Indiana, Deleted Scenes relocated to Washington, D.C where they subsisted exclusively on Ethiopian fir-fir and recorded only raindrops for three months.\r\n
\r\n
\r\n\r\nIt was around this time in 2007 that Deleted Scenes stumbled upon a surrealistic plop of a record called “Sookie Jump” by one “L. Skell” (of The Rude Staircase), and immediately went on a crusade to hunt down the now bald and olfactorily unpleasant recluse. Wearing sneakers, the band drove up to Skell’s West Philadelphia dungeon, only to find him in a salvia, nutmeg and EPMD-induced stupor. After haranguing him for 10 straight hours, Skell finally agreed to help in the creation of what would become “Birdseed Shirt”.\r\n
\r\n
\r\n\r\nFollowing tender sessions with heroic soundsmith J. Robbins, the band holed up in Skell’s dark, dank hermitage for 17 months collecting like stamps every last perfumed essence of sound until what resulted was not only a mellifluous, anthemic collage of existential joy and despair, but the best pop record of 2009. Dig!\r\n
\r\n
\r\n\r\n“Birdseed Shirt”, Deleted Scenes first full length record, unclenches your chest and pours sonic Elysian Fields inside, water- boarding your viscera with unspeakably catchy hooks and unbridled, youthful senescence.\r\n","description":null,"owner_id":374715273,"created_at":"2017-05-08T09:23:18-04:00","updated_at":"2017-05-28T18:42:51-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31649604105"},{"id":31649604169,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374715273,"created_at":"2017-05-08T09:23:18-04:00","updated_at":"2024-10-03T13:13:15-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31649604169"},{"id":32137564233,"namespace":"custom_fields","key":"landscapeimage","value":"
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\n","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:58-04:00","updated_at":"2024-09-09T12:41:52-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508489"},{"id":31411508553,"namespace":"custom_fields","key":"thumbnailimage","value":"
\n","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:58-04:00","updated_at":"2024-09-09T12:41:53-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508553"},{"id":31411508809,"namespace":"custom_fields","key":"description","value":"“I Write Wedding Songs” is the sixth release by Human Potential - the solo project of Andrew Becker; an award-winning filmmaker and former drummer for both Dischord Records’ band, Medications, and Brooklyn provocateurs, Screens.\r\n\r\n
\r\n
\r\n\r\nIn 2023, following the release of his fifth record, “Hoosi, No!”, Becker resolved to create a follow up album that would aesthetically upend and melodically transgress his most recent batch of cosmic slop. But, after years of working in relative isolation, he decided to make a definitive procedural modification…to reach out beyond his secluded silo and seek out a delicate production hand that could help grease the erstwhile musical machine.\r\n\r\n
\r\n
\r\n\r\nThat spring, after many dead-end investigations, AB managed to track down old friend and peripatetic troubadour, L. Skell (creator of entombed classic, Eldridge Skell’s The Rude Staircase’s “Sookie Jump”), who had spent the weirder part of a decade skiff hopping throughout Central America, convincing him to abscond north of the border to embark on a hellishly phantasmagoric musical journey.\r\n\r\n
\r\n
\r\n\r\nFor months, the two holed up in Becker’s fetid Los Angeles biodome, reinvigorating old oddities, while ushering in entirely new paradigms of creation. In order to demystify a sketch Becker had been working on, the pair employed rigid parameters, limiting themselves to one hour of clandestine solo work on the song, before turning it back to the other to do the same, every hour, over the course of an entire day. The result was “Clear Notes for a New National Anthem”, a jiggy ditty that flops and seizes before nose diving into the bawdy bowels of a Wichita disco. “Cut Worm Forgets the Plow” swaths a synth-pop anthem in a sampledelic glaze, while “A Witch for Charlemagne” oozes no wave leakage over mellifluous peacocking. The poptones of “You Only Love What You Can Lose” is preordained to breach the steadfast emotional dams of the black-hearted, while title track, “I Write Weddings Songs” leads the listener on an illusory montage of lost loves and derelict dreams before climbing safely into the saddle of its idyllic climax. Before it was all said and done, Becker had brought other contributors into the fold, including former Screens bandmate (and Apes singer) Breck Brunson, as well as vocalist Amira Nader, who imprinted the proceedings with their inimitable melodic stylings.\r\n\r\n
\r\n
\r\n\r\n\r\nLike all previous Human Potential album art, Becker dove into his personal archives for inspiration, this time pulling an image captured at his parents’ wedding reception many decades ago. The juxtaposition of the celebratory union with the divorce that would upend the marriage some years later, embodies the idea that memories, moments and life-defining songs shift tonally with the ebbs and flows that chart our existence. So it goes.\r\n\r\n
\r\n
\r\n\r\nAlas, “I Write Wedding Songs” is perhaps the most sonically sensuous and bafflingly palatable Human Potential album to date - a chimerical flavor rainbow of glistening, grimy, grandiose pop that inhales darkly and seethes brightly, welcoming all listeners to a shady place where joy and heartbreak dance together in a moonlit tidepool of teetering radiance.\r\n\r\n
\r\n
\r\n\r\n“I Write Wedding Songs”, released on Becker’s own What Delicate Recordings, is out now.","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:59-04:00","updated_at":"2024-11-15T07:32:48-05:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508809"},{"id":31438723401,"namespace":"custom_fields","key":"newest_record_title","value":"I Write Wedding Songs","description":null,"owner_id":372143561,"created_at":"2017-04-30T21:25:52-04:00","updated_at":"2024-09-09T12:41:53-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31438723401"},{"id":31633050889,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":372143561,"created_at":"2017-05-07T15:26:47-04:00","updated_at":"2024-10-04T02:29:31-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31633050889"},{"id":32450913033,"namespace":"custom_fields","key":"precedence","value":"1","description":null,"owner_id":372143561,"created_at":"2017-06-12T10:09:26-04:00","updated_at":"2017-06-12T10:09:26-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32450913033"}]},{"id":374095817,"handle":"pictures","title":"Pictures","updated_at":"2020-12-17T02:11:49-05:00","body_html":"","published_at":"2017-05-04T02:45:51-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/374095817","metafields":[{"id":31538209353,"namespace":"custom_fields","key":"description","value":"Andrew Becker and Daniel Mehrer are filmmakers from Brooklyn, New York. Santoalla is their first film together.\r\n
\r\n
\r\n\r\nFOR INQUIRES CONTACT: pictures@whatdelicate.com\r\n\r\n","description":null,"owner_id":374095817,"created_at":"2017-05-04T02:50:16-04:00","updated_at":"2017-05-12T23:06:18-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538209353"},{"id":31782467785,"namespace":"custom_fields","key":"is_artist","value":0,"description":null,"owner_id":374095817,"created_at":"2017-05-12T23:06:19-04:00","updated_at":"2024-10-03T13:13:32-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31782467785"}]},{"id":375782153,"handle":"santoalla","title":"Santoalla","updated_at":"2020-12-17T02:11:49-05:00","body_html":"","published_at":"2017-05-13T12:05:34-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/375782153","metafields":[{"id":31799896201,"namespace":"custom_fields","key":"description","value":"Progressive Dutch couple, Martin Verfondern and Margo Pool, had only one dream – to live off the land, far from the constraints and complications of the city. \r\n
\r\n
\r\n\r\nBut, when they arrive in the crumbling, Spanish village of Santoalla, the foreigners challenge the traditions of the town's sole remaining family, igniting a decade-long conflict that culminates in Martin's mysterious disappearance. \r\n
\r\n
\r\n\r\nAs this once forgotten landscape is thrust into the center of controversy, Margo finds herself searching not only for answers, but for the strength to persevere.\r\n","description":null,"owner_id":375782153,"created_at":"2017-05-13T12:06:20-04:00","updated_at":"2017-05-13T12:06:20-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31799896201"},{"id":31799896265,"namespace":"custom_fields","key":"is_artist","value":0,"description":null,"owner_id":375782153,"created_at":"2017-05-13T12:06:20-04:00","updated_at":"2024-10-06T02:17:34-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31799896265"}]},{"id":374713673,"handle":"screens","title":"Screens","updated_at":"2020-12-17T02:13:46-05:00","body_html":"","published_at":"2017-05-07T22:23:01-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/374713673","metafields":[{"id":31639995529,"namespace":"custom_fields","key":"newest_record_title","value":"Dead House","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:48:00-04:00","updated_at":"2017-05-07T23:48:00-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31639995529"},{"id":31639996169,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374713673,"created_at":"2017-05-07T23:48:00-04:00","updated_at":"2024-10-03T10:23:16-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31639996169"},{"id":31640170377,"namespace":"custom_fields","key":"landscapeimage","value":"
\n","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:56:55-04:00","updated_at":"2017-05-07T23:56:55-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31640170377"},{"id":31640184201,"namespace":"custom_fields","key":"description","value":"Eldritch weird wavers, Screens, seeped into existence in early 2009, after Washington, D.C. defectors, drummer Andrew Becker (Dischord Records’, Medications) and vocalist Breck Brunson (psych-sludge purveyors, The Apes) hooked up with keyboardist, Daniel Roland Tierney (San Francisco aggressors, The Mall) and guitarist, Luke Kozikowski in New York City. \r\n
\r\n
\r\n\r\nAfter bonding over their mutual affection for Harry Partch, Harry Nilsson and Harry Pussy, the quartet began congregating in a Lavvu above a Sami fish market, perfecting a sound that simultaneously sounded like a soothing Congolese dust storm and a toddler exploding in the night. Following countless frenzied shows in the moistest of east coast squats, Screens decamped to the rock and roll mecca of Hockessin, Delaware with reclusive and DMT diluted super-producer, L. Skell (remarkably overweight genius behind 2007’s unheralded classic “Eldridge Skell’s The Rude Staircase – Sookie Jump”) and engineer, Nick Krill (The Spinto Band), to craft a spirited mess of unbridled dystopia slathered in a rich, pasty, psychedelic batter. ","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:57:48-04:00","updated_at":"2017-06-10T21:47:45-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31640184201"},{"id":31671089993,"namespace":"custom_fields","key":"thumbnailimage","value":"
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\r\n
\r\n\r\nFOR SALES INQUIRES CONTACT: sales@whatdelicate.com\r\n
\r\n
\r\n\r\nFOR ALL OTHER INQUIRIES CONTACT ANDREW BECKER: andrew@whatdelicate.com\r\n","description":null,"owner_id":374096073,"created_at":"2017-05-04T02:50:37-04:00","updated_at":"2017-05-04T02:50:37-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538211529"}]},{"id":384997193,"handle":"eldridge-skells-the-rude-staircase","title":"The Rude Staircase","updated_at":"2020-12-17T03:50:28-05:00","body_html":"","published_at":"2017-06-22T16:03:16-04:00","sort_order":"best-selling","template_suffix":null,"published_scope":"web","admin_graphql_api_id":"gid://shopify/Collection/384997193","metafields":[{"id":32714252297,"namespace":"custom_fields","key":"newest_record_title","value":"Sookie Jump","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2017-06-22T16:04:10-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714252297"},{"id":32714252361,"namespace":"custom_fields","key":"description","value":"The story of Eldridge Skell’s The Rude Staircase begins with a hearty appetite for transpollinated thought patterns, a dead-end job doing thankless invigilation at the Mardi Gras Indian Museum in New Orleans, LA and a natural inclination towards the transcendentalism of misty hilltops. The group’s founder and leader L. Skell honed his sonic hypnotism by woodshedding in the backroom of Misty Cleavage’s Mississippi Moon Dancerie. But this night train would not flag the sundown lighter any longer. He soon moved his outboard vision quest to the cultural hotspot of Washington D.C. where he began a long distance disembodied stalking of Dagmar Krause.\r\n
\r\n
\r\n\r\nIt was around this time, while sleeping and rehearsing in a tiny scummy flooded basement, that he met his musical soulmates LoveLace-on-Tape and Vaclav Havel. This initial trio of guitar, mandoraphone and electric tuba sounded like a bangled stripper humping John Trubee’s The Ugly Janitors of America after beating the cathartic raindrops out of both Wingtip Sloat and Tragic Mulatto. They continued crafting songs and playing gigs while hatching their masterplan for making a record of all out feathercloud mindfuckery and torrential lift-off! This was destined to be the best band to come out of DC since Beefeater and The Make Up.\r\n
\r\n
\r\n\r\nThis glorious recording process would begin in late 2003 mainly to capture Lovelace-on-Tape before he vanished into premature Hollywood Babylonian disappearance condition. The purposefully haphazard basic tracking of theremin, trombone and cello was made at the Spinto University Tech Studio in Arlington VA. All subsequent ensemble material was recorded in a home studio using the latest TrUthQuEst technology. Eventually a psychic signal emanating from the underside of a magic suitcase facilitated The Rude Staircase’s contact with the cult savory snack aficionado and genius engineer/producer Bob Drake. The studio mastery proved so successful that the group instantly ceased to exist upon its completion! The Ancient Ones were pleased.\r\n
\r\n
\r\n\r\nThe final product “Sookie Jump” is an elegant pile of songs reminiscent of the architectural innovations of Frank Lloyd Wright’s Falling Water and Paolo Soleri’s massive utopian concrete village Arcosanti. It builds tension and grabs attention by really cramming darkness into the spaces between sounds in an uneven interstitial bumpy car ride soundtrack on dusty dirt road donkey trail of desire. It suggests the single-minded mania of “Pretties for You” era Alice Cooper but the sound is more full than the gregarious headdress of Samla Mammas Manna and playful like the precise hooliganism of Willem Breuker Kollektiv. By the end of this experience we will all feel like we’ve listened to the entire career output of The Cardiacs in one sitting with a warm belly full of crazy jalfrezi.\r\n","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2017-06-22T16:04:10-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714252361"},{"id":32714253001,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2024-10-04T05:15:31-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32714253001"},{"id":32714253065,"namespace":"custom_fields","key":"precedence","value":"4","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:11-04:00","updated_at":"2017-06-22T16:04:11-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714253065"},{"id":32715344265,"namespace":"custom_fields","key":"landscapeimage","value":"
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Magic","description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:35:12-04:00","updated_at":"2017-06-22T15:35:12-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32713834185"},{"id":32713834889,"namespace":"custom_fields","key":"description","value":"Fantastic Magic were created in the vitamin D rich environment of San Diego by a coven of gnomes using gator limbs, cough syrup and green crack. Featuring Nathan Williams (Wavves) on vocals, mandolin and electric guitar, Sundar Whelan (Heavy Hawaii) on a collection of instrumental curios and vocals, and Matt Barajas (Heavy Hawaii) on guitar and warbles, the trio established themselves with the cassette and CD-R, “Witch Choir”, released by Abandon Ship in 2007. Landing squarely outside the norm of every mandolin picker, guitar licker and talking drum piddler from here to Mauritius, they attracted various oddballs, octogenarians and perverts with their barely cognizant serenades and ethereal murder chants. Hearing the dreamy filth emanating from these young go-getters, What Delicate approached Fantastic Magic about exhuming some of their ditties from their day-glo coffin for a second release. The result is the “Sea of Gold” B/W “Jam and Yima” seven inch. Similar to fornicating with a pixie, the sounds on this piece of vinyl overwhelm your every sense pulling you down into a sweet psychedelic abyss, while clouds of blissed out earworms pummel your earhole. Following the release of the record, Fantastic Magic played a few more shows, then decided to call it a day. But, goddamn if it wasn’t a weird ride.\r\n","description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:35:16-04:00","updated_at":"2017-06-22T15:35:16-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32713834889"},{"id":32713834953,"namespace":"custom_fields","key":"release_date","value":1214941985,"description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:35:16-04:00","updated_at":"2024-10-03T21:43:17-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32713834953"},{"id":32713835017,"namespace":"custom_fields","key":"dark_text_overlay","value":0,"description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:35:16-04:00","updated_at":"2024-10-03T10:23:08-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32713835017"},{"id":32713835145,"namespace":"custom_fields","key":"single_column_description","value":0,"description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:35:16-04:00","updated_at":"2024-10-04T02:29:32-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32713835145"},{"id":32714020041,"namespace":"custom_fields","key":"track01","value":"Sea of Gold|https://s3.amazonaws.com/whatdelicate/fantastic-magic/Sea-Of-Gold.mp3","description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:53:06-04:00","updated_at":"2017-06-22T15:53:06-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714020041"},{"id":32714020105,"namespace":"custom_fields","key":"track02","value":"Jam and Yima|https://s3.amazonaws.com/whatdelicate/fantastic-magic/Jam-Yima.mp3","description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:53:06-04:00","updated_at":"2017-06-22T15:53:06-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714020105"},{"id":32714020169,"namespace":"custom_fields","key":"link_1","value":"iTunes|https://itunes.apple.com/album/fantastic-magic-single/id279904811","description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:53:06-04:00","updated_at":"2017-06-22T15:53:06-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714020169"},{"id":32714020233,"namespace":"custom_fields","key":"link_2","value":"Amazon|https://www.amazon.com/gp/product/B00190LM8Y/ref=dm_ws_sp_ps_dp","description":null,"owner_id":9826388361,"created_at":"2017-06-22T15:53:06-04:00","updated_at":"2017-06-22T15:53:06-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714020233"}],[{"id":32138142601,"namespace":"custom_fields","key":"artist","value":"Condor Moments","description":null,"owner_id":9580296585,"created_at":"2017-05-28T20:46:04-04:00","updated_at":"2017-05-28T20:46:04-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32138142601"},{"id":32138142665,"namespace":"custom_fields","key":"description","value":"Spawned somewhere between the colored crystal rock caves of Preston and the elegant seaside hostility of Blackpool, the Condor Moments have seamlessly reinvented a music of ritual suicide and crack-party dengue fever. The group was formed in 1985 by keyboardist/singer Richy Midnight and drummer The Real David Grey from the still warm embers of the anarcho-pop theorists Cheap Kojak. Using tiki torches and water balloons the duo started writing some of the most challenging campfire songs to hit the dirt since Casey and the Sunshine Acid Blues Crawlers. Later joined by the miraculous bass player Gregory Pex they were now a true power trio fully prepared to press on and conquer with tender provocation while always ready for cooking a big roast. The sparkle donkey hides its young before it shines its rainbow. Eventually the trio was joined by unhinged guitar legend Brucie Millions between his stints in regional penitentiaries of northern New Jersey, USA and nothing would ever be the same.\r\n
\r\n
\r\n\r\nAfter years of kicking it about playing romantic waltzes in the moonlight of The Lake District or earth shattering dirges inside a fishing net atop a billiards table in one of the burliest leather bars in NYC, they finally perfected their most convincingly delusional and effervescent sound reminiscent of Charles Ives, The Flying Burrito Brothers, Raymond Wallbank, Ludwig Van Beethoven and The Homosexuals among others. They have become an impossible ideal ready to take both The United States and the United Arab Emirates by storm!\r\n
\r\n
\r\n\r\n\r\nMost recently The Condor Moments have recorded a titan’s breakfast report of songs in the remote foothills of the Pyrenees Mountains of southern France with the mad hermit engineer/producer/musician cult hero Bob Drake. This masterwork, “And though we’re told we’ve got it all, the all we’ve got is freezing cold….”, combines the band’s shifting rhythmic ellipses, keyboard weirdness and tongue twisting vocal perversity with the unlimited epic revisionism of visionary flamboyant industrialists. For added tree hugging empowerment these cocksure wizards have added the meat rubbingly elegant vocals of Madge Daddy and Lady Dah of Blackpool’s Twilight Golden Calf as well as the underworldy deepthroat vomitsounds of humansacrifice from the noise/actionist cover band Peeinmyfacewithsurgery.\r\n
\r\n
\r\n\r\n\r\nThis CD is the most amazingly complex and purehearted collection of cinematic songclusters to be recorded since The Sun City Girls’ “300,003 Crossdressers from beyond the Rig Veda”, Ash Ra Tempel’s “7 Up!” and Fela Kuti’s “Coffins for Heads of State” combined! It is capable of simultaneously promoting healthy nudist living while welcoming all listeners to their unremembered collective past lives and psychic marshes. This music is more than simply food, as it exists in the spirit of science fiction and the mode of sheer mindless bootyshakin’ 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\r\n
\r\n\r\nIn 2005, Deleted Scenes entered a commodious hellhole in East Baltimore to record the four songs that would make up the “Deleted Scenes” EP. Following the album’s release, the band hit the road in Scheffey’s father’s airbrushed, self-portrait slathered bread van, playing scores of dates across the US in an attempt to get people to like them.\r\n
\r\n
\r\n\r\nAfter having their van covered with faded denim in Gary, Indiana, Deleted Scenes relocated to Washington, D.C where they subsisted exclusively on Ethiopian fir-fir and recorded only raindrops for three months.\r\n
\r\n
\r\n\r\nIt was around this time in 2007 that Deleted Scenes stumbled upon a surrealistic plop of a record called “Sookie Jump” by one “L. Skell” (of The Rude Staircase), and immediately went on a crusade to hunt down the now bald and olfactorily unpleasant recluse. Wearing sneakers, the band drove up to Skell’s West Philadelphia dungeon, only to find him in a salvia, nutmeg and EPMD-induced stupor. After haranguing him for 10 straight hours, Skell finally agreed to help in the creation of what would become “Birdseed Shirt”.\r\n
\r\n
\r\n\r\nFollowing tender sessions with heroic soundsmith J. Robbins, the band holed up in Skell’s dark, dank hermitage for 17 months collecting like stamps every last perfumed essence of sound until what resulted was not only a mellifluous, anthemic collage of existential joy and despair, but the best pop record of 2009. Dig!\r\n
\r\n
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\r\n\r\nAfter bonding over their mutual affection for Harry Partch, Harry Nilsson and Harry Pussy, the quartet began congregating in a Lavvu above a Sami fish market, perfecting a sound that simultaneously sounded like a soothing Congolese dust storm and a toddler exploding in the night. Following countless frenzied shows in the moistest of east coast squats, Screens decamped to the rock and roll mecca of Hockessin, Delaware with reclusive and DMT diluted super-producer, L. Skell (remarkably overweight genius behind 2007’s unheralded classic “Eldridge Skell’s The Rude Staircase – Sookie Jump”) and engineer, Nick Krill (The Spinto Band), to craft a spirited mess of unbridled dystopia slathered in a rich, pasty, psychedelic batter. 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\r\nFor centuries, Santoalla was a thriving village; home to farmers, blacksmiths, cobblers and shepherds. But, during the late-20th century, as the world modernized, earning a living by these traditional means became increasingly difficult. The residents began emigrating to other European countries in search of a better way of life.\r\n
\r\n
\r\nYears passed and Santoalla fell into disrepair; the remaining houses slowly decaying as portions of the old slate rooftops collapsed with each passing storm. After a while, Manolo Rodríguez, his wife Jovita and their sons were the only ones who remained. Able to hold onto a sizable piece of land and a herd of cows, they stubbornly refused to leave their home, as their neighbors fled. The family lived alone, in isolation...until 1997.\r\n
\r\n
\r\nMartin Verfondern and Margo Pool left Holland in search of a quiet place where they could live out their dream. They wanted to start an organic farm and survive off the land; to escape the bureaucracies and hassles of city life. For over two years, they traveled throughout Europe and Asia in an RV looking for the perfect place to settle down. And when they stumbled upon Santoalla in 1997, they knew right away, that it was going to be home.\r\n
\r\n
\r\nThe couple bought an abandoned stable and set to work turning it into a house. The future looked bright...and the possibilities for creating the life they had so coveted, seemed endless. But, things didn't work out the way they had planned. \r\n
\r\n
\r\nMartin had a vision for his adopted home that seemed to be at odds with everyone around him; to save Santoalla from ruin. And soon, he began lobbying to improve the village's conditions.\r\n
\r\n
\r\nBut, Martin's advocacy was only met with resistance, sparking tension between the foreigner, his neighbors. Frustrated, Martin believed that his status as an outsider prevented anyone from taking his ideas and demands seriously. But, his resolve only grew stronger. Martin mounted a press campaign to shed light on Santoalla's problems, denouncing both the Rodríguez family for refusing to support his plans to restore the village. Making matters worse, Martin and Margo became embroiled in a heated court battle with their neighbors over a land dispute, giving the once-tranquil village of Santoalla a notorious reputation.\r\n
\r\n
\r\nOn the rainy morning of January 19th, 2010, Martin drove out of Santoalla, navigating the nearly ten kilometers of switchbacks that snaked through the steep hills, down into a neighboring town. At approximately 11 a.m., he walked into a local market and purchased some food and supplies for the coming week. Later that afternoon, several people spotted his noisy, rust speckled SUV roaring through the local plaza, as it headed up towards the long, winding road leading back to Santoalla. It was the last time Martin Verfondern was ever seen.\r\n
\r\n
\r\nIn the months following his disappearance, investigators scoured the countryside for any sign of Martin and his car; to no avail. As months turned to years, Margo did her best to move on, attempting to build the life she and Martin had once envisioned. \r\n
\r\n
\r\nBy 2014, life in Santoalla seemed to have returned to normal. But, a grisly discovery that June, sparked a new investigation into Martin Verfondern's disappearance; one that exposed the dark secrets hidden by this desolate village. ","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:16-04:00","updated_at":"2017-07-09T12:25:58-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31537992009"},{"id":31537992137,"namespace":"custom_fields","key":"release_date","value":1467390358,"description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:17-04:00","updated_at":"2024-10-03T18:58:30-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31537992137"},{"id":31537992265,"namespace":"custom_fields","key":"dark_text_overlay","value":0,"description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:17-04:00","updated_at":"2024-10-03T16:07:54-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31537992265"},{"id":31538088649,"namespace":"custom_fields","key":"artist","value":"Santoalla","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:31:15-04:00","updated_at":"2017-05-04T02:31:15-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538088649"},{"id":31538176841,"namespace":"custom_fields","key":"subtitle","value":"\"An engrossingly atmospheric true crime tale of village strife\" — Hollywood Reporter","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:43:44-04:00","updated_at":"2017-05-17T00:18:24-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538176841"},{"id":31800786761,"namespace":"custom_fields","key":"video","value":"Santoalla_Village_1-looped-out.mp4","description":null,"owner_id":9354457929,"created_at":"2017-05-13T16:18:16-04:00","updated_at":"2017-05-13T16:18:16-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31800786761"},{"id":32429731593,"namespace":"custom_fields","key":"single_column_description","value":0,"description":null,"owner_id":9354457929,"created_at":"2017-06-11T10:09:22-04:00","updated_at":"2024-10-05T08:50:09-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32429731593"},{"id":33210010057,"namespace":"custom_fields","key":"trailer","value":"https://s3.amazonaws.com/whatdelicate/santoalla/santoalla-trailer.mp4","description":null,"owner_id":9354457929,"created_at":"2017-07-08T18:23:22-04:00","updated_at":"2017-07-08T18:23:22-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/33210010057"}],[{"id":31376107145,"namespace":"custom_fields","key":"artist","value":"Human Potential","description":null,"owner_id":9240405833,"created_at":"2017-04-28T20:22:55-04:00","updated_at":"2017-04-28T20:22:55-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31376107145"},{"id":31376107209,"namespace":"custom_fields","key":"description","value":"Human Potential is the solo project of Andrew Becker; formerly the drummer for Dischord Records’ band, Medications and nefarious Brooklyn outfit, Screens. \r\n\r\nAfter his latter group unceremoniously imploded in the summer of 2011, Becker consulted a high end, spiritual assassin who foretold a life just above the poverty line if he attempted to transpose the Bee Gees’ “1st” into an aural nightscape of loss, regret and heartache. 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The sounds were alarmingly profound, providing a deep sonic exfoliation that sloughed off the miasmic effervescence of seismic hygienic and creative dereliction. AB’s musically stagnant world was suddenly shepherded off of its axis.\r\nInspired, Becker sold his belongings and set out from his Los Angeles rondavel, armed with only a hagfish bindle and his former babysitter’s Bolang Gu, in search a new and completely unique sonic paradigm. For several months, he rode the rails in search of the euphonic promontory that he was convinced awaited him somewhere amid America’s alternately soggy / burning landscape.\r\nBut, it wasn’t long before Becker found himself unexpectedly restrained to a cot, after waking up at an Aghori urgent care clinic in Sussex County, Delaware. Attendants informed Becker that he had been gravely injured in a knife fight after attempting to burgle the only known copy of Robert Goulet’s notorious Bathory covers album from a fellow transient. The lacerations to his face and nasal passages made emergency surgery imperative, resulting in the removal of his Jacobson’s organ - a peripheral sensory organ of the accessory olfactory system.\r\nHaving previously relied on this largely unknown physiological instrument to decode and interpolate rhythm, frequency and timbre (a rare form of synesthesia) Becker immediately saw his musical aspirations dashed.\r\nDejected and insolvent, Becker borrowed a lime green tank top from a Milford mystic and rode a shetland pony back to Los Angeles. At home, he set up a store on the Silk Road to sell his one last possession of value - a platinum-plated lock of hair extracted from the stand-in orangutan from silver screen sparkler, “Dunston Checks In”. With the handsome proceeds, Becker purchased a collection of laser discs from the estate of Jan-Michael Vincent and devised a plan to invert his routine musical sources and methods. Relying strictly on his visual sense, he clicked off the volume and set about rewriting the scores to the bounty of cinematic gems found in Vincent’s trove.\r\nThe title sequence to Sam Peckinpah’s epic “The Wild Bunch\" became the backdrop for opener, “Hoosi, No!”, a slovenly marriage of stately beauty and insidious violence. The eerie excavations of Harvard Sensory Ethnography Lab masterpiece, “Leviathan”, spurred the lurching, unnerving, “Zwunck”, while a collection of Central American Manakin mating ritual clips prodded on the sturdy, sumptuous ravings of “80 All Over”. Before long, Becker had drawn inspiration from the repetitive disorientation of Stan Brakhage’s “Dog Star Man” (“Some Small Anti-Christ At The Art Show”) and Hollis Frampton’s ruin of memory on “Nostalgia” (“Love Song For H.R. 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Intrigued by the sounds and fueled by the zeitgeist, he began blithely punching a select number of these platonic pieces in the face, remaking/remodeling their well-intentioned motivations, until either a lilting bhangra emerged, or a subhuman screech clawed mercilessly at his earholes. At last, sensation! \r\n\r\nFor the next thirty goddamn days, Becker spurred this monastic, musical hellride on, harnessing beats and unearthing tones that grew increasingly redolent of Jac Berrocal at his most Mennonite and John Luther Adams at his most Unitarian. While loops and synthesizers were given pedicures and cuticle treatments, AB jammed his acoustic guitar into a wood chipper, and vowed to tastefully apply electric guitars only where deemed appropriate by a consortium consisting of Nikki Sudden, Morton Feldman, DJ Scott La Rock and Satan. \r\n\r\nAfter compositing a grip of salacious sing alongs, Becker high tailed it back to his stucco houseboat in New York Harbor where he got down to the sordid business of sorting out the scabrous auditory attic he had painted himself into. Unsure of how to make clouds sound like air, he once again enlisted the enigmatic powers of engineer, Jeremy Scott, who lacerated levels and meticulously nursed the album’s disparate waveforms to health, with the loving care that a widowed plover would show an injured fawn.\r\n\r\nAfter nearly six months, and a near arrest for defrauding executives at A&M Records, “Hot Gun Western City” was finally birthed into the world. 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In order to demystify a sketch Becker had been working on, the pair employed rigid parameters, limiting themselves to one hour of clandestine solo work on the song, before turning it back to the other to do the same, every hour, over the course of an entire day. The result was “Clear Notes for a New National Anthem”, a jiggy ditty that flops and seizes before nose diving into the bawdy bowels of a Wichita disco. “Cut Worm Forgets the Plow” swaths a synth-pop anthem in a sampledelic glaze, while “A Witch for Charlemagne” oozes no wave leakage over mellifluous peacocking. The poptones of “You Only Love What You Can Lose” is preordained to breach the steadfast emotional dams of the black-hearted, while title track, “I Write Weddings Songs” leads the listener on an illusory montage of lost loves and derelict dreams before climbing safely into the saddle of its idyllic climax. 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The group’s founder and leader L. Skell honed his sonic hypnotism by woodshedding in the backroom of Misty Cleavage’s Mississippi Moon Dancerie. But this night train would not flag the sundown lighter any longer. He soon moved his outboard vision quest to the cultural hotspot of Washington D.C. where he began a long distance disembodied stalking of Dagmar Krause.\r\n
\r\n
\r\n\r\nIt was around this time, while sleeping and rehearsing in a tiny scummy flooded basement, that he met his musical soulmates LoveLace-on-Tape and Vaclav Havel. This initial trio of guitar, mandoraphone and electric tuba sounded like a bangled stripper humping John Trubee’s The Ugly Janitors of America after beating the cathartic raindrops out of both Wingtip Sloat and Tragic Mulatto. They continued crafting songs and playing gigs while hatching their masterplan for making a record of all out feathercloud mindfuckery and torrential lift-off! This was destined to be the best band to come out of DC since Beefeater and The Make Up.\r\n
\r\n
\r\n\r\nThis glorious recording process would begin in late 2003 mainly to capture Lovelace-on-Tape before he vanished into premature Hollywood Babylonian disappearance condition. The purposefully haphazard basic tracking of theremin, trombone and cello was made at the Spinto University Tech Studio in Arlington VA. All subsequent ensemble material was recorded in a home studio using the latest TrUthQuEst technology. Eventually a psychic signal emanating from the underside of a magic suitcase facilitated The Rude Staircase’s contact with the cult savory snack aficionado and genius engineer/producer Bob Drake. The studio mastery proved so successful that the group instantly ceased to exist upon its completion! The Ancient Ones were pleased.\r\n
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\r\n\r\nThe final product “Sookie Jump” is an elegant pile of songs reminiscent of the architectural innovations of Frank Lloyd Wright’s Falling Water and Paolo Soleri’s massive utopian concrete village Arcosanti. It builds tension and grabs attention by really cramming darkness into the spaces between sounds in an uneven interstitial bumpy car ride soundtrack on dusty dirt road donkey trail of desire. It suggests the single-minded mania of “Pretties for You” era Alice Cooper but the sound is more full than the gregarious headdress of Samla Mammas Manna and playful like the precise hooliganism of Willem Breuker Kollektiv. 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\r\n\r\nAfter years of kicking it about playing romantic waltzes in the moonlight of The Lake District or earth shattering dirges inside a fishing net atop a billiards table in one of the burliest leather bars in NYC, they finally perfected their most convincingly delusional and effervescent sound reminiscent of Charles Ives, The Flying Burrito Brothers, Raymond Wallbank, Ludwig Van Beethoven and The Homosexuals among others. They have become an impossible ideal ready to take both The United States and the United Arab Emirates by storm!\r\n
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\r\n
\r\n\r\nIn 2005, Deleted Scenes entered a commodious hellhole in East Baltimore to record the four songs that would make up the “Deleted Scenes” EP. Following the album’s release, the band hit the road in Scheffey’s father’s airbrushed, self-portrait slathered bread van, playing scores of dates across the US in an attempt to get people to like them.\r\n
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\r\n\r\nAfter having their van covered with faded denim in Gary, Indiana, Deleted Scenes relocated to Washington, D.C where they subsisted exclusively on Ethiopian fir-fir and recorded only raindrops for three months.\r\n
\r\n
\r\n\r\nIt was around this time in 2007 that Deleted Scenes stumbled upon a surrealistic plop of a record called “Sookie Jump” by one “L. Skell” (of The Rude Staircase), and immediately went on a crusade to hunt down the now bald and olfactorily unpleasant recluse. Wearing sneakers, the band drove up to Skell’s West Philadelphia dungeon, only to find him in a salvia, nutmeg and EPMD-induced stupor. After haranguing him for 10 straight hours, Skell finally agreed to help in the creation of what would become “Birdseed Shirt”.\r\n
\r\n
\r\n\r\nFollowing tender sessions with heroic soundsmith J. Robbins, the band holed up in Skell’s dark, dank hermitage for 17 months collecting like stamps every last perfumed essence of sound until what resulted was not only a mellifluous, anthemic collage of existential joy and despair, but the best pop record of 2009. Dig!\r\n
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\r\n
\r\n\r\nIn 2023, following the release of his fifth record, “Hoosi, No!”, Becker resolved to create a follow up album that would aesthetically upend and melodically transgress his most recent batch of cosmic slop. But, after years of working in relative isolation, he decided to make a definitive procedural modification…to reach out beyond his secluded silo and seek out a delicate production hand that could help grease the erstwhile musical machine.\r\n\r\n
\r\n
\r\n\r\nThat spring, after many dead-end investigations, AB managed to track down old friend and peripatetic troubadour, L. Skell (creator of entombed classic, Eldridge Skell’s The Rude Staircase’s “Sookie Jump”), who had spent the weirder part of a decade skiff hopping throughout Central America, convincing him to abscond north of the border to embark on a hellishly phantasmagoric musical journey.\r\n\r\n
\r\n
\r\n\r\nFor months, the two holed up in Becker’s fetid Los Angeles biodome, reinvigorating old oddities, while ushering in entirely new paradigms of creation. In order to demystify a sketch Becker had been working on, the pair employed rigid parameters, limiting themselves to one hour of clandestine solo work on the song, before turning it back to the other to do the same, every hour, over the course of an entire day. The result was “Clear Notes for a New National Anthem”, a jiggy ditty that flops and seizes before nose diving into the bawdy bowels of a Wichita disco. “Cut Worm Forgets the Plow” swaths a synth-pop anthem in a sampledelic glaze, while “A Witch for Charlemagne” oozes no wave leakage over mellifluous peacocking. The poptones of “You Only Love What You Can Lose” is preordained to breach the steadfast emotional dams of the black-hearted, while title track, “I Write Weddings Songs” leads the listener on an illusory montage of lost loves and derelict dreams before climbing safely into the saddle of its idyllic climax. Before it was all said and done, Becker had brought other contributors into the fold, including former Screens bandmate (and Apes singer) Breck Brunson, as well as vocalist Amira Nader, who imprinted the proceedings with their inimitable melodic stylings.\r\n\r\n
\r\n
\r\n\r\n\r\nLike all previous Human Potential album art, Becker dove into his personal archives for inspiration, this time pulling an image captured at his parents’ wedding reception many decades ago. The juxtaposition of the celebratory union with the divorce that would upend the marriage some years later, embodies the idea that memories, moments and life-defining songs shift tonally with the ebbs and flows that chart our existence. So it goes.\r\n\r\n
\r\n
\r\n\r\nAlas, “I Write Wedding Songs” is perhaps the most sonically sensuous and bafflingly palatable Human Potential album to date - a chimerical flavor rainbow of glistening, grimy, grandiose pop that inhales darkly and seethes brightly, welcoming all listeners to a shady place where joy and heartbreak dance together in a moonlit tidepool of teetering radiance.\r\n\r\n
\r\n
\r\n\r\n“I Write Wedding Songs”, released on Becker’s own What Delicate Recordings, is out now.","description":null,"owner_id":372143561,"created_at":"2017-04-29T20:40:59-04:00","updated_at":"2024-11-15T07:32:48-05:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31411508809"},{"id":31438723401,"namespace":"custom_fields","key":"newest_record_title","value":"I Write Wedding Songs","description":null,"owner_id":372143561,"created_at":"2017-04-30T21:25:52-04:00","updated_at":"2024-09-09T12:41:53-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31438723401"},{"id":31633050889,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":372143561,"created_at":"2017-05-07T15:26:47-04:00","updated_at":"2024-10-04T02:29:31-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31633050889"},{"id":32450913033,"namespace":"custom_fields","key":"precedence","value":"1","description":null,"owner_id":372143561,"created_at":"2017-06-12T10:09:26-04:00","updated_at":"2017-06-12T10:09:26-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32450913033"}],[{"id":31538209353,"namespace":"custom_fields","key":"description","value":"Andrew Becker and Daniel Mehrer are filmmakers from Brooklyn, New York. Santoalla is their first film together.\r\n
\r\n
\r\n\r\nFOR INQUIRES CONTACT: pictures@whatdelicate.com\r\n\r\n","description":null,"owner_id":374095817,"created_at":"2017-05-04T02:50:16-04:00","updated_at":"2017-05-12T23:06:18-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538209353"},{"id":31782467785,"namespace":"custom_fields","key":"is_artist","value":0,"description":null,"owner_id":374095817,"created_at":"2017-05-12T23:06:19-04:00","updated_at":"2024-10-03T13:13:32-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31782467785"}],[{"id":31799896201,"namespace":"custom_fields","key":"description","value":"Progressive Dutch couple, Martin Verfondern and Margo Pool, had only one dream – to live off the land, far from the constraints and complications of the city. \r\n
\r\n
\r\n\r\nBut, when they arrive in the crumbling, Spanish village of Santoalla, the foreigners challenge the traditions of the town's sole remaining family, igniting a decade-long conflict that culminates in Martin's mysterious disappearance. \r\n
\r\n
\r\n\r\nAs this once forgotten landscape is thrust into the center of controversy, Margo finds herself searching not only for answers, but for the strength to persevere.\r\n","description":null,"owner_id":375782153,"created_at":"2017-05-13T12:06:20-04:00","updated_at":"2017-05-13T12:06:20-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31799896201"},{"id":31799896265,"namespace":"custom_fields","key":"is_artist","value":0,"description":null,"owner_id":375782153,"created_at":"2017-05-13T12:06:20-04:00","updated_at":"2024-10-06T02:17:34-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31799896265"}],[{"id":31639995529,"namespace":"custom_fields","key":"newest_record_title","value":"Dead House","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:48:00-04:00","updated_at":"2017-05-07T23:48:00-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31639995529"},{"id":31639996169,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":374713673,"created_at":"2017-05-07T23:48:00-04:00","updated_at":"2024-10-03T10:23:16-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31639996169"},{"id":31640170377,"namespace":"custom_fields","key":"landscapeimage","value":"
\n","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:56:55-04:00","updated_at":"2017-05-07T23:56:55-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31640170377"},{"id":31640184201,"namespace":"custom_fields","key":"description","value":"Eldritch weird wavers, Screens, seeped into existence in early 2009, after Washington, D.C. defectors, drummer Andrew Becker (Dischord Records’, Medications) and vocalist Breck Brunson (psych-sludge purveyors, The Apes) hooked up with keyboardist, Daniel Roland Tierney (San Francisco aggressors, The Mall) and guitarist, Luke Kozikowski in New York City. \r\n
\r\n
\r\n\r\nAfter bonding over their mutual affection for Harry Partch, Harry Nilsson and Harry Pussy, the quartet began congregating in a Lavvu above a Sami fish market, perfecting a sound that simultaneously sounded like a soothing Congolese dust storm and a toddler exploding in the night. Following countless frenzied shows in the moistest of east coast squats, Screens decamped to the rock and roll mecca of Hockessin, Delaware with reclusive and DMT diluted super-producer, L. Skell (remarkably overweight genius behind 2007’s unheralded classic “Eldridge Skell’s The Rude Staircase – Sookie Jump”) and engineer, Nick Krill (The Spinto Band), to craft a spirited mess of unbridled dystopia slathered in a rich, pasty, psychedelic batter. ","description":null,"owner_id":374713673,"created_at":"2017-05-07T23:57:48-04:00","updated_at":"2017-06-10T21:47:45-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31640184201"},{"id":31671089993,"namespace":"custom_fields","key":"thumbnailimage","value":"
\n","description":null,"owner_id":374713673,"created_at":"2017-05-08T23:54:31-04:00","updated_at":"2017-05-08T23:54:31-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31671089993"},{"id":32450921545,"namespace":"custom_fields","key":"precedence","value":"2","description":null,"owner_id":374713673,"created_at":"2017-06-12T10:09:45-04:00","updated_at":"2017-06-12T10:09:45-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32450921545"}],[{"id":31538211529,"namespace":"custom_fields","key":"description","value":"What Delicate Recordings was formed in 2007 in order to release two albums: “Sookie Jump” by Eldridge Skell’s The Rude Staircase. The label was founded by Andrew Becker (drummer for the Dischord Records’ band Medications, Brooklyn outfit Screens and the songwriter behind Human Potential) and L. Skell (The Rude Staircase’s songwriter and producer), who met in Washington, DC. Today, the two run label operations from New York City and Ulan Bator, respectively. They will continue to pursue the release of unique music they feel deserves to be heard.\r\n
\r\n
\r\n\r\nFOR SALES INQUIRES CONTACT: sales@whatdelicate.com\r\n
\r\n
\r\n\r\nFOR ALL OTHER INQUIRIES CONTACT ANDREW BECKER: andrew@whatdelicate.com\r\n","description":null,"owner_id":374096073,"created_at":"2017-05-04T02:50:37-04:00","updated_at":"2017-05-04T02:50:37-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538211529"}],[{"id":32714252297,"namespace":"custom_fields","key":"newest_record_title","value":"Sookie Jump","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2017-06-22T16:04:10-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714252297"},{"id":32714252361,"namespace":"custom_fields","key":"description","value":"The story of Eldridge Skell’s The Rude Staircase begins with a hearty appetite for transpollinated thought patterns, a dead-end job doing thankless invigilation at the Mardi Gras Indian Museum in New Orleans, LA and a natural inclination towards the transcendentalism of misty hilltops. The group’s founder and leader L. Skell honed his sonic hypnotism by woodshedding in the backroom of Misty Cleavage’s Mississippi Moon Dancerie. But this night train would not flag the sundown lighter any longer. He soon moved his outboard vision quest to the cultural hotspot of Washington D.C. where he began a long distance disembodied stalking of Dagmar Krause.\r\n
\r\n
\r\n\r\nIt was around this time, while sleeping and rehearsing in a tiny scummy flooded basement, that he met his musical soulmates LoveLace-on-Tape and Vaclav Havel. This initial trio of guitar, mandoraphone and electric tuba sounded like a bangled stripper humping John Trubee’s The Ugly Janitors of America after beating the cathartic raindrops out of both Wingtip Sloat and Tragic Mulatto. They continued crafting songs and playing gigs while hatching their masterplan for making a record of all out feathercloud mindfuckery and torrential lift-off! This was destined to be the best band to come out of DC since Beefeater and The Make Up.\r\n
\r\n
\r\n\r\nThis glorious recording process would begin in late 2003 mainly to capture Lovelace-on-Tape before he vanished into premature Hollywood Babylonian disappearance condition. The purposefully haphazard basic tracking of theremin, trombone and cello was made at the Spinto University Tech Studio in Arlington VA. All subsequent ensemble material was recorded in a home studio using the latest TrUthQuEst technology. Eventually a psychic signal emanating from the underside of a magic suitcase facilitated The Rude Staircase’s contact with the cult savory snack aficionado and genius engineer/producer Bob Drake. The studio mastery proved so successful that the group instantly ceased to exist upon its completion! The Ancient Ones were pleased.\r\n
\r\n
\r\n\r\nThe final product “Sookie Jump” is an elegant pile of songs reminiscent of the architectural innovations of Frank Lloyd Wright’s Falling Water and Paolo Soleri’s massive utopian concrete village Arcosanti. It builds tension and grabs attention by really cramming darkness into the spaces between sounds in an uneven interstitial bumpy car ride soundtrack on dusty dirt road donkey trail of desire. It suggests the single-minded mania of “Pretties for You” era Alice Cooper but the sound is more full than the gregarious headdress of Samla Mammas Manna and playful like the precise hooliganism of Willem Breuker Kollektiv. By the end of this experience we will all feel like we’ve listened to the entire career output of The Cardiacs in one sitting with a warm belly full of crazy jalfrezi.\r\n","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2017-06-22T16:04:10-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714252361"},{"id":32714253001,"namespace":"custom_fields","key":"is_artist","value":1,"description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:10-04:00","updated_at":"2024-10-04T05:15:31-04:00","owner_resource":"collection","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32714253001"},{"id":32714253065,"namespace":"custom_fields","key":"precedence","value":"4","description":null,"owner_id":384997193,"created_at":"2017-06-22T16:04:11-04:00","updated_at":"2017-06-22T16:04:11-04:00","owner_resource":"collection","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/32714253065"},{"id":32715344265,"namespace":"custom_fields","key":"landscapeimage","value":"
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But, after years of working in relative isolation, he decided to make a definitive procedural modification…to reach out beyond his secluded silo and seek out a delicate production hand that could help grease the erstwhile musical machine.\r\n\r\nThat spring, after many dead-end investigations, AB managed to track down old friend and peripatetic troubadour, L. Skell (creator of entombed classic, Eldridge Skell’s The Rude Staircase’s “Sookie Jump”), who had spent the weirder part of a decade skiff hopping throughout Central America, convincing him to abscond north of the border to embark on a hellishly phantasmagoric musical journey.\r\n\r\nFor months, the two holed up in Becker’s fetid Los Angeles biodome, reinvigorating old oddities, while ushering in entirely new paradigms of creation. 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Before it was all said and done, Becker had brought other contributors into the fold, including former Screens bandmate (and Apes singer) Breck Brunson, as well as vocalist Amira Nader, who imprinted the proceedings with their inimitable melodic stylings.\r\n\r\nLike all previous Human Potential album art, Becker dove into his personal archives for inspiration, this time pulling an image captured at his parents’ wedding reception many decades ago. The juxtaposition of the celebratory union with the divorce that would upend the marriage some years later, embodies the idea that memories, moments and life-defining songs shift tonally with the ebbs and flows that chart our existence. 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\r\nFor centuries, Santoalla was a thriving village; home to farmers, blacksmiths, cobblers and shepherds. But, during the late-20th century, as the world modernized, earning a living by these traditional means became increasingly difficult. The residents began emigrating to other European countries in search of a better way of life.\r\n
\r\n
\r\nYears passed and Santoalla fell into disrepair; the remaining houses slowly decaying as portions of the old slate rooftops collapsed with each passing storm. After a while, Manolo Rodríguez, his wife Jovita and their sons were the only ones who remained. Able to hold onto a sizable piece of land and a herd of cows, they stubbornly refused to leave their home, as their neighbors fled. The family lived alone, in isolation...until 1997.\r\n
\r\n
\r\nMartin Verfondern and Margo Pool left Holland in search of a quiet place where they could live out their dream. They wanted to start an organic farm and survive off the land; to escape the bureaucracies and hassles of city life. For over two years, they traveled throughout Europe and Asia in an RV looking for the perfect place to settle down. And when they stumbled upon Santoalla in 1997, they knew right away, that it was going to be home.\r\n
\r\n
\r\nThe couple bought an abandoned stable and set to work turning it into a house. The future looked bright...and the possibilities for creating the life they had so coveted, seemed endless. But, things didn't work out the way they had planned. \r\n
\r\n
\r\nMartin had a vision for his adopted home that seemed to be at odds with everyone around him; to save Santoalla from ruin. And soon, he began lobbying to improve the village's conditions.\r\n
\r\n
\r\nBut, Martin's advocacy was only met with resistance, sparking tension between the foreigner, his neighbors. Frustrated, Martin believed that his status as an outsider prevented anyone from taking his ideas and demands seriously. But, his resolve only grew stronger. Martin mounted a press campaign to shed light on Santoalla's problems, denouncing both the Rodríguez family for refusing to support his plans to restore the village. Making matters worse, Martin and Margo became embroiled in a heated court battle with their neighbors over a land dispute, giving the once-tranquil village of Santoalla a notorious reputation.\r\n
\r\n
\r\nOn the rainy morning of January 19th, 2010, Martin drove out of Santoalla, navigating the nearly ten kilometers of switchbacks that snaked through the steep hills, down into a neighboring town. At approximately 11 a.m., he walked into a local market and purchased some food and supplies for the coming week. Later that afternoon, several people spotted his noisy, rust speckled SUV roaring through the local plaza, as it headed up towards the long, winding road leading back to Santoalla. It was the last time Martin Verfondern was ever seen.\r\n
\r\n
\r\nIn the months following his disappearance, investigators scoured the countryside for any sign of Martin and his car; to no avail. As months turned to years, Margo did her best to move on, attempting to build the life she and Martin had once envisioned. \r\n
\r\n
\r\nBy 2014, life in Santoalla seemed to have returned to normal. But, a grisly discovery that June, sparked a new investigation into Martin Verfondern's disappearance; one that exposed the dark secrets hidden by this desolate village. ","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:16-04:00","updated_at":"2017-07-09T12:25:58-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31537992009"},{"id":31537992137,"namespace":"custom_fields","key":"release_date","value":1467390358,"description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:17-04:00","updated_at":"2024-10-03T18:58:30-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31537992137"},{"id":31537992265,"namespace":"custom_fields","key":"dark_text_overlay","value":0,"description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:15:17-04:00","updated_at":"2024-10-03T16:07:54-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/31537992265"},{"id":31538088649,"namespace":"custom_fields","key":"artist","value":"Santoalla","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:31:15-04:00","updated_at":"2017-05-04T02:31:15-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538088649"},{"id":31538176841,"namespace":"custom_fields","key":"subtitle","value":"\"An engrossingly atmospheric true crime tale of village strife\" — Hollywood Reporter","description":null,"owner_id":9354457929,"created_at":"2017-05-04T02:43:44-04:00","updated_at":"2017-05-17T00:18:24-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31538176841"},{"id":31800786761,"namespace":"custom_fields","key":"video","value":"Santoalla_Village_1-looped-out.mp4","description":null,"owner_id":9354457929,"created_at":"2017-05-13T16:18:16-04:00","updated_at":"2017-05-13T16:18:16-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/31800786761"},{"id":32429731593,"namespace":"custom_fields","key":"single_column_description","value":0,"description":null,"owner_id":9354457929,"created_at":"2017-06-11T10:09:22-04:00","updated_at":"2024-10-05T08:50:09-04:00","owner_resource":"product","type":"integer","admin_graphql_api_id":"gid://shopify/Metafield/32429731593"},{"id":33210010057,"namespace":"custom_fields","key":"trailer","value":"https://s3.amazonaws.com/whatdelicate/santoalla/santoalla-trailer.mp4","description":null,"owner_id":9354457929,"created_at":"2017-07-08T18:23:22-04:00","updated_at":"2017-07-08T18:23:22-04:00","owner_resource":"product","type":"string","admin_graphql_api_id":"gid://shopify/Metafield/33210010057"}]}]},"interactions":{},"shopifyClient":null,"shopifyCart":{},"cartItems":{},"cartIsOpen":false,"hamburgerNavOpen":false,"mobileDetailNavClosed":false,"loadingCheckout":false,"variantSelected":null,"currentHomePageSlide":{"id":7585814478927,"title":"I Write Wedding Songs","body_html":"
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But, after years of working in relative isolation, he decided to make a definitive procedural modification…to reach out beyond his secluded silo and seek out a delicate production hand that could help grease the erstwhile musical machine.\r\n\r\nThat spring, after many dead-end investigations, AB managed to track down old friend and peripatetic troubadour, L. Skell (creator of entombed classic, Eldridge Skell’s The Rude Staircase’s “Sookie Jump”), who had spent the weirder part of a decade skiff hopping throughout Central America, convincing him to abscond north of the border to embark on a hellishly phantasmagoric musical journey.\r\n\r\nFor months, the two holed up in Becker’s fetid Los Angeles biodome, reinvigorating old oddities, while ushering in entirely new paradigms of creation. In order to demystify a sketch Becker had been working on, the pair employed rigid parameters, limiting themselves to one hour of clandestine solo work on the song, before turning it back to the other to do the same, every hour, over the course of an entire day. The result was “Clear Notes for a New National Anthem”, a jiggy ditty that flops and seizes before nose diving into the bawdy bowels of a Wichita disco. “Cut Worm Forgets the Plow” swaths a synth-pop anthem in a sampledelic glaze, while “A Witch for Charlemagne” oozes no wave leakage over mellifluous peacocking. The poptones of “You Only Love What You Can Lose” is preordained to breach the steadfast emotional dams of the black-hearted, while title track, “I Write Weddings Songs” leads the listener on an illusory montage of lost loves and derelict dreams before climbing safely into the saddle of its idyllic climax. Before it was all said and done, Becker had brought other contributors into the fold, including former Screens bandmate (and Apes singer) Breck Brunson, as well as vocalist Amira Nader, who imprinted the proceedings with their inimitable melodic stylings.\r\n\r\nLike all previous Human Potential album art, Becker dove into his personal archives for inspiration, this time pulling an image captured at his parents’ wedding reception many decades ago. The juxtaposition of the celebratory union with the divorce that would upend the marriage some years later, embodies the idea that memories, moments and life-defining songs shift tonally with the ebbs and flows that chart our existence. So it goes.\r\n\r\nAlas, “I Write Wedding Songs” is perhaps the most sonically sensuous and bafflingly palatable Human Potential album to date - a chimerical flavor rainbow of glistening, grimy, grandiose pop that inhales darkly and seethes brightly, welcoming all listeners to a shady place where joy and heartbreak dance together in a moonlit tidepool of teetering radiance.\r\n\r\n“I Write Wedding Songs”, released on Becker’s own, What Delicate Recordings is out 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