In 1996, Geffen-signed NY band Hunk dissolved after their self-titled debut album. Drummer Brian Geltner and fellow bandmate Kenny Siegal quickly formed the excellent trio the Hands with Chapel of Betty innovator Chris Rael, liberating an individual, minor-classic recording Mule Me, before morphing in to the similarly impressive rock-band Johnny Culture, all in the period of a few years. Once Johnny Culture had begun to determine itself using its 1st two albums, Geltner started to spend his free time only messing around within the piano, eventually writing some melodies that could eventually become the solo part task Dr. Snitch. Getting into his and Siegal’s older studio room space, The Kennel, along with engineer Danny Kadar at abnormal intervals over another few years, Geltner laid down a bevy of Dr. Snitch monitors single-handedly, generally functioning quickly; completing the complete recording and blending processes for a person song in only 4-6 hours, playing all of the instruments and executing all of the overdubs himself. By 2000, he previously enough tracks to get for an record, Music for Uninspected Elevators, some film cues sans the real film, that premiered on Fang Information. The album resulted in a legitimate credit scoring chance of the Wes Jones 16mm brief film The Blakey. Johnny Culture reconvened in the studio room to focus on its 4th album the next calendar year, while Geltner concurrently started focus on another Dr. Snitch work, this time around with instrumental support from Siegal.