Holy Fuck is four dudes from Toronto, Canada who use live instrumentation to create “the equivalent of modern electronic music without actually using the techniques” (Pitchfork.com). Fuck’s second full-length, the nine-song LP, does just that. Fuck loop beats, layer sounds and textures, and organically build digital symphonies setting the soundtrack for the noisiest dance party ever.
The band has been a backup sound provider for avant-emcee Beans, toured with electro-clash titan M.I.A. and played a private SXSW party hosted by TV chef Rachel Ray, causing blogospheric outrage. LP follows a promising self-titled debut but finds the band much more adept at their tinkering.
LP is, like all great dance records, rhythm-centric. The evolution and intoxification of beats is the main focus in Holy Fuck’s sound, and all the other beeps, bells, clicks and whistles come later. Fuck follow in the tradition of Kraftwerk and Can, Daft Punk and The Faint. “Super Inuit” is Krautrock on uppers, “Milkshake” something along the lines of Chemical Brothers meets Ghostland Observatory.
“Lovely Allen” is one of the best single tracks I’ve heard all year, a walk-in-the-park pop melody covered in Holy Fuck’s noisey shine. “Royal Gregory” is Fuck’s funkiest contribution, a dance-happy vamp. “Echo Sam” is raucously fun, “Safari” an 8-bit gamers glitchy manifesto.
Besides the clearly brilliant name, Holy Fuck has put out one of the more brilliant records this year. LP is blasphemous and loud, a mohawked dance party for those who dance because they’ve got nothing else to live for. A band like this shows true brilliance in their live performance, but LP does well to capture Holy Fuck at their best.
myspace: www.myspace.com/holyfuck
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1 comment:
Read this today on the site. Good shit.
-t
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