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After completing the final album from The Mae Shi,  HLLLYH, Brad Breeck holed himself up in his studio, and began creating music for other people. TV commercials for brands like Apple (check out the current MacBook Air spot), music for films such as Tenacious D in the Pick of Destiny, and music for kids shows like Nickelodeon's Fanboy & Chum Chum (if you're 6 years old, you already know the theme song). Writing music for other people is nice, but writing for yourself is something special.  Under the name Skull Tape, Breeck's new album, The Invisible Hand and the Descent of Man, follows in the footsteps where his work with The Mae Shi left off.
The Invisible Hand and the Descent of Man, a pop album about Social Darwinism, couldn't be more relevant right now.  The idea of survival of the fittest bubbles below the surface of debates of the financial crisis, the health care debate, the income inequality discussion.  The idea of making a Skull Tape record about this came from Breeck being obsessed with these debates. He felt the thread that tied it all together (in a very base way) was this idea of Social Darwinism.

In lieu of promoting an ideology, Skull Tape sets a scene, suggests concepts and uses them as a palette. On his intent for the record, Breeck quotes John Cage, "I have nothing to say and I'm saying it." The resulting record is subversive. Rife with pop hooks and singalong melodies, listeners may not realize that, below the surface, something entirely unexpected is happening.

With Skull Tape, Breeck wanted something that conjured images of skate thrash music and from the first blast of "Crop Circles" to the sing-along shred of "Drowning In Blood" straight through to the churning, epic album closer, "Cosmos & Taxis,"  The Invisible Hand and the Descent of Man delivers twelve new songs that will make you dance, sing, and consult Wikipedia.