The direct sequel to Danburry’s classic Goodnight Dannii, Becoming Bastian Salazar tells the tale of one man’s journey from hope to despair, through spiritual death and rebirth. Danburry will release the record to the world at no cost as thank you to all those who supported him in the past.
From 2005 to 2010 singer-songwriter Drew Danbury played over 750 shows across the world, released a host of acclaimed albums, and hit a creative brick wall. Says Danburry, “Roughly 3 years ago, in 2010, I released an album called Goodnight Dannii, stopped playing live shows and I went to barber school. I felt a lot of things at the time, but specifically, I felt like I wouldn’t be able to make an album better than Goodnight Dannii and I felt like it was time to “grow up” as they say. It was time to start a family with my wife and put away the dreams of making a living with music.”
The pull to keep creating proved undeniable, and Danburry had to find a way to free himself from the mental and emotional chains that were preventing him from making music. Alter ego Damien Fairchild was born. He began recording, and posting tracks and videos to his facebook page. Word started to spread. Ultimately, with the recording finished, Danburry decided to fill the world in on the experiment and release the record, entitled For all the Girls.
“Writing For all the Girls began opening up ideas for how I could write another Drew Danburry album. I would write his death.” says Danburry. “Becoming Bastian Salazar is an album dedicated to telling the story of how one experiences a spiritual death, an attempt to tell the story of how one goes from hope to despair. It is a direct sequel to Goodnight Dannii and somewhat of a prequel to the Apache recording project where I took on the pseudonym of Bastian Salazar.”
Along with Becoming Bastian Salazar, he’ll be digitally re-releasing on September 16th the 2008 album This Could Mean Trouble, You Don’t Speak for the Club and the 2010 Goodnight Gary which AbsolutePunk.net described as “Undeniably charismatic” and which the 405 described as managing to take a “relatively familiar sound and make it entirely his own.”