At least three different bands are named "Nightcrawlers"

For the ga… Read Full Bio ↴At least three different bands are named "Nightcrawlers"

For the garage rock band from Florida see The Nightcrawlers

1) American DIY/ambient/synth music trio from 1980s with over 40 releases, featuring members Dave Lunt, Peter Gulch, Tom Gulch

2) Nightcrawlers is a Scottish house music project, assembled by producer, DJ and vocalist John Reid (born 6 September 1963). In 1992, John Reid formed the act following his local success as a DJ and vocalist. He quickly released the debut single "Living Inside A Dream", which failed to reach any commercial success. Reid then decided to release a second single, "Push the Feeling On", which fared much better, becoming an overnight success, peaking at #7 on the U.S. Hot Dance Club Play chart, and briefly crossing over to pop radio, peaking at #80 on the Billboard Hot 100, spending fifteen weeks on the chart.

3) the Nightcrawlers are a hip-hop duo from Oakland, California. J-Bo, the MC/bass musician is known for his thoughtfully introspective lyrics as much as his energetic charisma on stage. JJEQ (Jake Jake Earth Quake) producer/keyboardist/percussionist/engineer has a reputation for his varied and innovative style which is personafied in each of his instrumentals.

4) Canadian Jazz! Various shades of indigo, as in the blues, are more than suggested on Down in the Bottom, by Vancouver, Canada's The Night Crawlers. The music is crafted around the alliterative, musical hyperbole-flinging sound of the Hammond B3 organ. Cofounder Cory Weeds suggests that this is tribute to the Hammond B3 bands of the '50s and '60s, but that is where all comparison ends. The verve and depth of soulful musical excursions bring a unique character to the music produced by The Night Crawlers. This is music of the highest degree of creativity; a truly honest aural experience, wrought by a certain communal aspect of performance that seems to have almost vanished today.

The lean, yet sinewy arrangements have a force that enables the music to cascade over conscious listening and bury itself into the memory, where it takes hold of the inner ear. Chris Gestrin's stellar turn on the Hammond B3 recalls the magic of Booker T, Lonnie Smith, and the great Jimmy Smith as well, as he creates wave after wave of oceanic sound with his cohort of brass and woodwinds. And they rise up to the call every time they are poked and prodded by the crashing chords that Gestrin uses to lure them in. Weeds finds the biggest sound on the alto saxophone, echoing with heroism and soaring glissandos. Steve Kaldestad's dry roar on tenor saxophone is no less gigantic, but it is Gestrin who is always in the pocket, with one command performance after the other. The charts seem to have been written just for his genius, and the mighty cresting and falling continues from "Apercu" through "Goin' Down," "Zattitude," Lonnie Smith's "Love Bowl" and the tantalizing "Modal Issue."