Source: BOMB Magazine.
I met artists Chris Hontos and Aaron Anderson some years ago in Bushwick, Brooklyn, where we all were living at a time. Their studio was then shared with artist and fellow Minneapolis punk genius Eric Timothy Carlson whom they met in the Midwest and have since worked with for years to become the studio’s three corners of separate and collaborative visual and sound-art practices. Their projects include the Beat Detectives, producing a decade-long collection of heavily rotated underground tapes; Grammy-nominated visual work for Bon Iver’s album I,I; a temporal and psychedelic T-shirt line that premiered at the New York Art Book Fair; and now, Nuke Watch.
Hontos once half-jokingly told me that “everyone is in the Beat Detectives,” and I see this measure most with the loose system and instinctual formation of Nuke Watch. Between the free-flow rotation of members (which I liken to the traditions of a jazz ensemble) and the music’s expansive style in the spirit of an electronic jam band, it is a powerful experiment in surrendering to the present. The studio has changed corners, but Hontos and Anderson still maintain an open fortress of funk and stream of expressive renewal.