Biography
After the 1996 breakup of Geffen-signed New York band Hunk, which came on the heels of its self-titled debut, drummer Brian Geltner and bandmate Kenny Siegal joined Church of Betty leader Chris Rael to form the brilliant trio the Hand. The group issued only one album, the minor-classic Mule Me, before evolving into the equally impressive rock band Johnny Society—all within the space of a few years.
Once Johnny Society had released its first two albums and begun to find its footing, Geltner turned to the piano in his off hours and composed a set of melodies that became the foundation of his solo side project Dr. Snitch. Returning at irregular intervals to the old studio space The Kennel, he worked with engineer Danny Kadar to record a collection of Dr. Snitch tracks entirely alone, completing the tracking and mixing of each song in four to six hours while performing every instrument and overdub himself. By 2000 those sessions had produced enough material for the Fang Records album Music for Uninspected Elevators, a series of film cues sans the actual film. The release led to a scoring assignment for Wes Jones’s 16mm short film The Blakey.
The following year, while Johnny Society reconvened to begin work on its fourth album, Geltner simultaneously launched a second Dr. Snitch project, this time drawing instrumental support from Siegal.
Once Johnny Society had released its first two albums and begun to find its footing, Geltner turned to the piano in his off hours and composed a set of melodies that became the foundation of his solo side project Dr. Snitch. Returning at irregular intervals to the old studio space The Kennel, he worked with engineer Danny Kadar to record a collection of Dr. Snitch tracks entirely alone, completing the tracking and mixing of each song in four to six hours while performing every instrument and overdub himself. By 2000 those sessions had produced enough material for the Fang Records album Music for Uninspected Elevators, a series of film cues sans the actual film. The release led to a scoring assignment for Wes Jones’s 16mm short film The Blakey.
The following year, while Johnny Society reconvened to begin work on its fourth album, Geltner simultaneously launched a second Dr. Snitch project, this time drawing instrumental support from Siegal.
Albums