In the fall of 2013, around when Year of Endless Light was coming out, three kids came into my bar. It was dead, a Monday evening, and they were hilarious. We hit it off and shared a few pints. By the end of the night, one of them had told me he was an artist who made music videos (or wanted to), given me his name/info on a piece of reciept paper (he didn't have a business card), and written John H. Sears GOOD AT EVERYTHING or something like that, I'm not sure, I lost the paper. I did, however, remember to send him the song I'd been thinking of. Like most funny people I've met, he had a It seemed fortuitous, and I trust fortune. You don't have much choice, really. 

What came back to me was a rhapsody in gloom, an unearthly combination of pale bodies gliding in the ocean, backwards horseman, still forests, ocean waves mirrored in waves of digital distortion, cartoons and grinning faces of the past rendered unsettling by masks of blue tint and other ghostly images. 

The videos echoes of the songs elements are my favorite part: the rumbling wind from the field recording resonates in the shakiness of the handheld camera moments and the shimmering zebra stripes (made by re-filming the super 8 footage with an old VHS camera); the distant old-timey trumpet solo (played on a boombox across a parking lot from the field recorder microphones) and the brief glimpses of gleeful cartoons in the murk; the three intertwining voices of viola, tenor sax and trumpet and the constant overlapping of different moving images; the lost intimacy of the found footage and the lost hope of the narrator, who wants only the "cool hands of sleep" around his neck. 

Hope you like it.

-gb

Selected Press for Everyday Crimes Against Objects Of Desire, Vol I.

"8.3...A fulmination of raw talent and professional struggle expressed in swerving jags of jazz-blazed, high-rise folk" - Nathan Huffstutter, Paste Magazine

A piece of roaming beauty, placing the alluring enticement of “Hope Springs” in the beginning, the half-eyed bleary sleepiness of “White Knucked On the Wheel”, the evocative, gorgeous, funereal closer, “Love = War”; built around the richness of the centerpiece song, “Zion." - Sjimon Gompers – IMPOSE

This is lovely music, finely detailed and plush, easy to warm up to, but then the delight of sharp nettles beneath keeps you picking away at it. - Jayson Greene - Wondering Sound

Deeply cathartic...equally weathered and self-assured. - Dusty Henry - Consequence of Sound

Underneath the polished sheen of the track’s production lies a thoroughly original and twisted approach to songwriting that sets Wilder Maker apart. There is pop magic for sure[...]but there are moments of quirkiness that jolt the listener as well: bars with odd time signatures, brief dissonant chord changes, vocal harmonies soaked in dub-reggae inspired echo. Wilder Maker is clearly committed to challenging the increasingly inflexible alt-country idiom." - Aputumpu

Selected Press for Year of Endless Light

A remarkable album, richly conceived and remarkably, wildly played…a river of American sounds…bizarre and original. – Jayson Greene – eMusic Best of 2013 

Wilder Maker’s sprawling second album, Year of Endless Light, concentrates at those drop-everything arresting moments, the type of holy fuck jolts that spur a compulsion to rewind/replay: listen listen listen and maybe if you listen just one more time you’ll finally get your head around some hidden secret. – Nathan Huffstutter, The Fiddleback 

Recommended highly for fans of heavy folk/country/rock like Bonnie Prince Billy, Richard Buckner and Neil Young, this album is just about overwhelming in its scope and breathtaking in its execution. - When You Motor Away 

An incredible breadth of vision that defies musical genres.  - Folk Radio UK

What might sound like a normal folk-influenced rock record to begin with gradually reveals itself to be a multi-layered tour de force, drawing on elements from widespread and disparate genres. - No Ripcord