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When the seminal indie noise band Truman's Water moved out of San Diego, Glen Galloway stayed behind and became Glen Galaxy. He soon began recording as Soul-Junk and celebrating his love for Jesus Christ by referencing lyrics directly from the Bible. Soul-Junk is all about spirituality through musical invention and reinvention. Galloway started by creating sounds rooted in free jazz and noise. He then brought in guitars and composed actual songs while remaining rooted in the experimental. With his album 1956, he started to move into rapping, while also sticking to its original foundation of avant-garde, indie rock, and conventional singing. This eclectic commingling of styles propelled Soul-Junk toward the territory of Beck.

The subsequent EP 1942 (there's no discernable chronology at work here) fell back into noise, with a band structure that featured Glen Galaxy, Jon Galaxy, Slo-Ro, and Sufjan Stevens, with Daniel of the Danielson Famile producing, engineering, and appearing on some tracks. Then came Soul-Junk's booming 1957, an album of marvelously twisted hip hop produced by Slo-Ro and Galaxy. Still hanging onto that experimental and fragmented side, 1957 offers beats, loops, and samples that mix up the mind. Like the Danielsons, Soul-Junk has this facinating knack for constantly and cryptically praising God in a weird psychedelic manner. 1957 is 40 minutes of funk and will delight listeners of all religious orientations.

Then 2003 suddenly became 1958 according to Soul-Junk and this new full-length took the styles of the previous year/album to new heights of hip hop madness. Bipolar beats wrap around a jarring array of noise layers over tight rhymes. Far more manic than its predeccesor, the album is destined to fly right over the heads of many listeners. If you take the time to wrap your head around 1958, Soul-Junk may be a religious experience.

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