‘Bad Timing,’ the debut single from Ex Reyes, a psychsoul project by Brooklyn based musician Mikey Freedom Hart . . . goes deeper than the surface revelries . ” — The FADER “…Talented Louisiana born, Brooklyn based multi instrumentalist Ex Reyes (that’s Mikey Freedom Hart to the IRS)…”—Noisey
Over the course of his career, Hart has worked closely with a multitude of influential artists including Albert Hammond Jr. , Bleachers, The Cranberries, Sia, Mike D, Santigold, Sinkane, Adam Green and more. “Along the path, I was always chipping away at the sound of Ex Reyes,” says Hart, “I set out to make a record as varied, weird, joyful, and honest as the experiences and people who inspired it. I tried to allow any influence in if it wanted in.”
According to Hart, “Ex Reyes comes from the subtle sophistication of the Beach Boys, the weirdness of psychedelic era Temptations ,the sonic experimentation of Phil Spektor and Delia Derbyshire, the free freneticism of dancehall, and the superb oddity of synthesizer soaked dollar records, distilled into songs about real shit.”
Ex Reyes’ debut album, Punch Talk— mixed by Daniel Schlett (DIIV, Modest Mouse, Ghostface Killah)—was recorded and produced in a variety of locations around the globe. Based on musical community and the spark of collaboration, it’s the result of many hours spent both with talented friends in unlikely places and alone in even less likely places.
Vocals were tracked in countless hotel rooms, green rooms, tour buses, vans, and a 30hour ferry ride from the UK to Spain (when avoiding a French transit strike midtour with Bleachers). Elsewhere, percussion and guitars were recorded in a shed in Ghana and backup strings were laid down at NYC’s famed Magic Shop studio—just days after David Bowie finished Blackstar there. Samples from a Greenpoint basement jam session—tracked by Jake Aron (Chairlift, Grizzly Bear, tUnEyArDs)—are outlined by pianos captured with iPhone voice memo at LA’s Record Plant. Then a horn section recorded in a woodshop at the Brooklyn Navy Yard and a Hammond B3, belonging to Yoshida’s grandmother, that was taped in her garage in LA.