…The best way I can describe it is a creepy, worldly trip-hop song with ghostly vocals, but there’s so much more to it than that. My favorite is the wild saxophone noise reminiscent of The Birthday Party. “Wylin’” has a more obvious spaghetti western influence, dirge-y and acoustic in tone…
CACTUS CROWN is now available for stream prior to bandcamp’s proper release (7-17-18), and digital wide-release (7-18-17).
Por Mary Joon y La Niña Blanca
† In memoriam: Thomas Ross Sr., John Alan Keats and Rafael Weinstein †
Created between the August 2017 Eclipse and June’s Full Moon 2018.
This album is a testament to love and magick.
The album’s Audiomancy and Folklore to be shared soon.
Releases everywhere July 17 / 18, 2018
Mary Antoinette McKeever
Additional Mixing and fully Mastered by long-time mentor
Small samples of “Yégènèt Muziqa” by Getatchew Mekurya appear on Track 1 and Track 7.
Sample of Alan Moore on Magick at the end of Track 5
Sample of William S. Burroughs on writing and author Henry Miller at the end of Track 6
Special Thanks to Mary, Santa Muerte, Barry Wood, Logan Ford & Rachel Sides, Bran Hernandez, Chris Shumaker, Noah Pfarr, Joel Hatmaker, SPARE SPELLS, Jimbo Kennedy, Iohannes Pontes & Simon Sotelo, Anthony Alvarado, The Ross’, The Keats’, The Weinsteins, The Smith’s and all who stood by, supported and shared love and materials through these turbulent eclipses. You are adored.
Barachos y Banditas,
Dakota Slim had originally planned to release the new long-form E.P. CACTUS CROWN on Valentine’s day 2017 – alas, this was a premature ambition as we are in the rites of spring and I am not yet finished with the unexpected lil’ opus.
The tracks, originally composed post-Halloween 2017 with a crippled hand on a three string guitar, were intended to be sparsely orchestrated and seldom accompanied – an acoustic testament of solemn hymnals of sorts… again, alas, here I am deep into post-production and the monster I am incubating became another ramshackle, bedroom opus akin to the 2007 release, HITHERTO THE AMINALS. An unexpected return to the solo sonic-lust of original sample-led rhythmic sequences, experimental analog tracking and bombastic orchestration has indeed engulfed CACTUS CROWN and though this grew to be quite the project, I am happy for it’s obsessive evolution.
Slinking out of the throws of a cosmic inner shift that left me one handed and solemnly solitary in the beginning months of this year, I rekindled my love for solo production and all it throws. After the years-long conceptually ambitious collaborative effort of my band, SPARE SPELLS, in the midst of recalibration whilst inching towards the completion of last year’s conceptual epic, THE NARROWS‘, accompanying comic book (see below), the specter of Dakota Slim rose to exorcise new material, now deft and deliberate and headstrong into a new era.
While I take my time to round out CACTUS CROWN and ready it for imminent release (for sure this April), you can taste the southwest soaked cacophonous cornucopia of sonic manifestations that will riddle the album’s maddening production:
From the Ethiopian-jazz inflected haunt of CC’s opener, NIGHT THIEF,
to the sparse and live-tracked psychic ballad, WEIGHTLESS,
The Pentecostal Surf of the theme composed for Wayward Worship’s OCCULTCAST, WESTWARD HO,
CACTUS CROWN is sure to be fine culmination of Dakota Slim’s years of experimentation in self-produced hymnals. A journalistic document of the moon cycles between Halloween and Spring – a feverish snapshot of the end of a partnership, the fervor and beauty of a new love and the narrative of a man trying to make sense of the contradictory extremes that riddled him.
In any case, keep your hearts crossed and your eyes peeled – the tenth (?) release from my perennial sonic identity (15 years old!) is sure to usher DAKOTA SLIM back into the fold from a silent, scheming, somnambulant saunter.