Grant W. Curry

An early life diagnosis of chronic illness combined with extended stays in addiction treatment centers and a stint in a halfway house led Curry to the arts. After dabbling in music in his late teens, he moved to New Orleans from his home of Slidell, LA to commit himself full time to music and joined the band of like-minded musician James Hall. Following the demise of Hall’s brilliant 1992-1998 lineup, Curry worked briefly with Detroit’s P.W. Long (Mule) before reconnecting with Hall to form Pleasure Club.  

While tremendously successful at the cult level, personal conflict caused an end to the fabled band in 2005. Curry moved on, working in visual mediums and producing records under the radar from his bayou-side cabin in rural Louisiana, with artists such as The Dark Horse Project, Aloke, Deadboy and the Elephantmen, Other Passengers and Blackfire Revelation. Occasional instrumental projects followed, including the dub meets jazz of Ballroom Dance Is Dead, with Lynn Wright (And The Wiremen), the gorgeous ambience of Ex Felines with producer James Salter and guest Daniel Ash (Bauhaus) and Century Waste, a noise meets ambience experiment with Lynn Wright and Julie Hair (3 Teens Kill 4). 

Pleasure Club reunited in 2018 for occasional live appearances and recordings. Always relying heavily on repetitive bass lines and themes, Curry began writing sketches for what would eventually become Flood Twin. “I make minimalist art. I like to use repeated motifs. Music is the same for me; I choose to play simply, using bass phrases over and over in the hope the listener will actually begin to feel something. Vocally and lyrically, it’s equally powerful to intone the same word(s) many times, eventually resonating with the listener and allowing them to attach feeling and intention to it.” P.i.L. Metal Box comes to mind, here. As the primary architect of Flood Twin, he hands over his repetitive ideas to Hedberg and Sterling to shape and bring into dynamic life. “After relocating to Atlanta several years after Hurricane Katrina, I searched high and low until I found Jay Leslie Hedberg in early 2020. The relationship produced immediate exciting results. When Sterling joined the band 6 months later, we caught fire.” Curry’s visual art is evident on the album cover, again allowing the viewer an opportunity for inquiry; an invitation to have a listen and begin to feel something, anything.