Human Potential


“Hot Gun Western City” is the third release by Human Potential, the solo project of Andrew Becker – former drummer for Dischord Records’ band, Medications and Brooklyn curios, Screens.


The terrifyingly ecstatic journey of “Hot Gun Western City” began in the Fall of 2016, when Becker secured a residency at an Illuminati funded trailer park, in the Finger Lakes region of upstate New York.  It was within the confines of this ramshackle retreat that Becker made preparations to actualize a new, aural hellscape - envisioning a sound not unlike listening to a DJ Screw dubplate of the dialogue from “The Honeymoon Killers”, through a Magnavox CRT television speaker.  But, as the tepid Fall sun cast its nefarious shadow on the mirth of Summer, AB found himself completely devoid of ideas, spending each night staring blankly out of his trailer’s ovular window, into the expansive country blackness, while a tinny, immature hiss chided him from the abyss.


Listless, bored and growing ever more docile by a daily regimen of Bauhausian opium therapy, Becker cued up passages from music he had composed for, “Santoalla” – a documentary he co-directed, shot, edited and scored over the course of four impossibly weird years.  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!  


For 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.


After 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.


After nearly six months, and a near arrest for defrauding executives at A&M Records, “Hot Gun Western City” was finally birthed into the world.  The record’s nine songs are replete with ambient moans, studied drones and caustic clangs that quell the daylight hours and kill the dusk, laying out a sensual musical cloak for the grayest of after-hours convocations.  But, at its quivering heart, it’s an album that palpitates with an inscrutable quintessence that transcends mortal feelings -– evoking an experiential, aural quasar that can be neither visualized, nor verbalized.   


“Hot Gun Western City” will be released July 21st, on Becker’s own, What Delicate Recordings.


Additionally, Becker’s film, “Santoalla”, is being distributed by Oscilloscope Laboratories and will be released theatrically this summer.


  1. Apparitioning

  2. Nearly Nines

  3. Wayfare Radio

  4. Majestic Park Training

  5. Notes from the Moon Factory Parking Lot

  6. Hot Gun Western City

  7. Moses on the Sentry Box

  8. Too Early for Tomorrow

  9. Guilder