‘Disturbingly brilliant math-noise-rock’ (Shame-frontman Charlie Steen)
It’s been quite a while since an unsigned band from the London underground created such furor! Doing so with barely one official release to their name – the explosive track ‘bmbmbm’. But, particularly: without a cunning social media campaign or orchestrated over-activity on the World Wide Web. For once, we believe NME again when they write: ‘Best band in London? Given time, they might just be the best in the whole country.’
Music mag Oor, about their superb visit to Le Guess Who?: ‘Postpunk van een wiskundig niveau, barstend van de wanklinkende gitaarerupties en indrukwekkende tempowisselingen. Ondoorgrondelijke ritmes afgewisseld met staccato beukpartijen, dansbaar gitaargepingel, gevolgd door Slint-achtige spoken word-passages. Een eclectische boel, verwarrend maar des te interessanter.’
Basically: thumping, rattling and shaking of the highest class.
The Art of Noise
In 1913, the Italian Luigi Russolo wrote a Futurist manifesto entitled The Art of Noises - L’Arte dei Rumori – in which he declared that music must adjust to the new industrial age and must be a reflection of the noisy city with its ‘hissing, beeping, humming, thumping, rattling and shaking’. If Russolo hadn’t left us in 1947, he would shamelessly sate himself on the (claustrophobic) noise(-rock) and cutting-edge experimental electro that BRDCST presents in the year 2019 – with acts like Blanck Mass, Bliss Signal, Black Midi or Ipek Gorgun.