There is something strangely compelling about imagining a future through the technology of the past. Max MacReady have built an entire musical world around that contradiction, somewhere between forgotten analogue machinery, neon-lit spaceports and the cold glow of a science fiction transmission. With their new single ‘The Hunt’, the UK duo push further into that universe, exploring pursuit, desire, mixed signals and the uncomfortable space between genuine connection and imagined possibility.
Arriving August 13, ‘The Hunt’ combines darkwave, synthwave, electronic music and post-punk with a distinctly cinematic atmosphere. The track feels as though it has travelled backwards from a future that never happened, carrying echoes of Gary Numan, Nine Inch Nails, Jean-Michel Jarre and Vangelis alongside the progressive ambition of Yes and Rush, the rhythmic sharpness of The Police and the filmic instincts of John Carpenter.
At its core, however, ‘The Hunt’ is not really about science fiction. It is about something much more familiar. The thrill of chasing something that may never be yours, investing time in a connection that may not exist, and recognising a pattern while still finding yourself drawn back into it. The song questions how easily modern communication can blur the line between an invitation and an assumption, particularly in a world increasingly shaped by technology and competing attempts to control attention and influence.
Interestingly, the music itself came together with remarkable speed. The arrangement and composition remained largely intact throughout the guitar and vocal recording, while the lyrics arrived afterwards. The vocals were captured around 3am in London, before the outside world became too loud, adding another small piece of nocturnal atmosphere to a track already steeped in darkness.
The visual world of ‘The Hunt’ takes that atmosphere much further. Following their debut video ‘Holding Pattern’, which presented the duo as a distant holographic transmission, Max MacReady wanted this new chapter to make their fictional universe tangible. The pair move through strange and cinematic environments across Cornwall and RAE Bedford, including Gwithian Beach, Goonhilly Earthstation and the abandoned air tunnel control room at RAE Bedford.
Shot with anamorphic lenses, a Steadicam and drone camera, the video draws heavily from the exploratory visual language of John Carpenter while maintaining a deliberately physical, analogue feel. The abandoned control room became a particularly striking location, transformed into an otherworldly command centre through carefully chosen props and small LED lights. Even the visual effects remain restrained, with practical locations doing much of the storytelling.
Importantly, no AI was used in creating the video. Instead, Max MacReady embraced real environments, in-camera moments and the tactile imperfections of physical spaces. Limited 3D effects were added afterwards for elements such as twin moons, spacecraft and the removal of unwanted signage, allowing the imagined world to grow naturally from the real one.
Behind the project are Max MacReady, handling bass, synthesisers and composition, and Kurt Precinct, whose guitars, textures, vocals and narrative contributions help complete the duo’s distinctive sound. Together, they continue to develop a universe where songs feel less like conventional releases and more like signals travelling through forgotten frequencies in search of someone willing to listen.
With ‘The Hunt’, that signal feels closer than ever. It is dark, atmospheric and deliberately mysterious, but beneath its retro-futurist surface lies a very modern question: when technology makes connection easier than ever, how do we know when the connection is actually real?
Artist Bio:
Max Macready is a musical transmission from a lost future – where analogue tech, neon-lit spaceports, and pulsing synths converge. Hailing from the UK, the duo crafts a sound rooted in synthwave/darkwave, electronic, and post-punk, pulling deep influence from the progressive ambition of Yes and Rush, the rhythmic energy of The Police, and the cinematic textures of John Carpenter. Max Macready handles bass, synthesisers, and composition — building sonic landscapes that feel both vintage and otherworldly. Kurt Precinct drives guitars and textures into orbit, sometimes stepping to the mic or co-authoring the narrative. Together, they form a band that exists both in our world and in another: a retro-future universe where their songs exist as cassette-tape broadcasts echoing through deep space. Their music is meant to feel like something your character in a sci-fi film would find – beamed outward into the void, spinning in a forgotten console, or drifting through space as radio waves seeking a listener, waiting for someone – or something – to listen.
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