Dumb Numbers
| Dumb Numbers | |
|---|---|
| Origin | Los Angeles |
| Genres | Indie rock, noise rock |
| Years active | 2011–present |
| Labels | Joyful Noise |
| Associated acts | Melvins, Dinosaur Jr., Sebadoh, The Jesus Lizard, Best Coast, Dead River, Magic Dirt, Useless Children |
| Website | dumbnumbers |
Dumb Numbers is the musical project of Adam Harding, videographer from L.A. Lou Barlow, Dale Crover, Bobb Bruno (of Best Coast) and others contributed to the studio album. David Lynch did the cover art for the studio-album, and David Yow directed the video for the album's single which appeared in Rolling Stone. The band's roster for live shows fluctuates depending upon the touring schedule of members. Personnel who consistently appear onstage during Dumb Numbers shows include Harding, Murph (of Dinosaur Jr.), Bonnie Mercer, and Pete Lyman.
Harding's native country is Australia. Prior to the debut of Dumb Numbers, Harding was better-known as a videographer (having directed music videos for DJ Shadow, Warpaint, Sebadoh, Lou Barlow, and Magic Dirt). However, many of the albums contributors were already established as independent musicians.
A genre-defying act, Dumb Numbers musical style has been described variously as doom, sludge, and "swooning feedback pop," however there is general agreement that none of these labels are definitive.
Dumb Numbers began when Harding collaborated with Lou Barlow, creating music for a scene in filmmaker John Waters's Cry-Baby. The Barlow/Harding song wasn't used in the film, but during the writing and recording of the music Harding gathered and worked with a group of Los Angeles musicians who would ten years later collaborate to create an album, Dumb Numbers.
Harding selects musicians for each Dumb Numbers project from a large group of friends and collaborators.”
The self-titled Debut was released on Joyful Noise Recordings in August of 2013, with the single ("Redrum") premiering in the AV Club and in InSound's weekly mixtape. The video for "Redrum", directed by David Yow, premiered in Rolling Stone, and Spin the following month. Reviews of the album were generally positive, citing an atavistic and primal indie-rock sound.
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