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Holy F*ck

luckypimp
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Biography

Holy F4ck started a legacy based on near stupidity. It started with a simple concept, to mimic modern electronic music without using modern fail-safes like laptops and programmed backing tracks. They wanted to make music breathe new life with every new performance, take daring risks on high wire, and threaten always to collapse around the bewildered audience. So they armed themselves with a drum set, a bass guitar, a myriad of toy keyboards, guitar peddles, mixers, and even a 35 mm film synchronizer and hit the stage at last year’s NXNE festival, without even rehearsing. Luckily they remembered to bring extra batteries.

Sure what they came up with sounded more like some sort of mutant kraut rock, noisy Suicide-like monster. But it was the audience’s reaction that was most surprising. Although perhaps bewildered, they nonetheless danced, smashed stuff, freaked out… one girl even cried. Now just over a year later they have played super-festivals like Coachella, CMJ, SXSW, POP Montreal, Montreal Jazz, and have even been invited to All Tomorrow’s Parties in London and Vegoose in Las Vegas. They have hooked up and collaborated frequently with Anti Pop Consortium MC, Beans. They still do it with the same duct taped keyboards, film editing gear, still without rehearsing. The line up continues to mutate but maintains its core: Brian Borcherdt, Graham Walsh, Kevin Lynn, and drummers Glenn Milchem and Loel Campbell.

Spin magazine recently described Holy Fuck as‘blip-hoppers’. Other amusing descriptions are “a shabbily dressed Kraftwerk” and even “Toronto’s evil super group.” While it is difficult to describe the sounds made by mashed up Casio beats, layered with pounding drums and scratched up film tape, the one comment that is on everyone’s lips is … well, “Holy Fuck!”

“I had the good fortune of seeing these crazy crazy guys perform live a few weeks back at the Mercury Lounge in NYC… it was off the fucking hook. Seriously, totally bananas. Their songs made me want to run around in circles and fall down, or jump up and down and rock-kick my feet out in all directions. It was insanity in a nutshell." - Music For Robots

“Anything can happen with this school science project gone right.”- Tim Perlich, Now

“Holy Fuck are set to emerge amidst praise as enthusiastic and exclamatory as their name.” Exclaim

Interpol - Our Love to Admire (2007)

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1 Pioneer to The Falls 05:42
2 No I In Threesome 03:51
3 The Scale 03:25
4 The Heinrich Maneuver 03:29
5 Mammoth 04:13
6 Pace Is The Trick 04:37
7 All Fired Up 03:35
8 Rest My Chemistry 05:01
9 Who Do You Think? 03:13
10 Wrecking Ball 04:33
11 The Lighthouse 05:24
Links

Interpol - Antics (2004)

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1 Next Exit 03:20
2 Evil 03:36
3 Narc 04:08
4 Take You On A Cruise 04:54
5 Slow Hands 03:04
6 Not Even Jail 05:47
7 Public Pervert 04:40
8 C'Mere 03:11
9 Length Of Love 04:07
10 A Time To Be So Small 04:51
Links

Interpol - Turn On the Bright Lights (2002)

luckypimp
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1 Untitled 03:57
2 Obstacle 1 04:11
3 NYC 04:20
4 PDA 05:00
5 Say Hello To Angels 04:28
6 Hands Away 03:06
7 Obstacle 2 03:47
8 Stella Was A Diver And She Was Always Down 06:28
9 Roland 03:36
10 The New 06:07
11 Leif Erikson 04:00

INTERPOL

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Interpol was created in New York City in 1998. The original line-up of the band was Greg on drums, Daniel on guitar, Paul on vox and guitar, and Carlos on bass. Between ’98 and 2000, the four lads forged a unique sound in a variety of the city’s decrepit and shady rental rehearsal rooms. Paying by the hour, they cultivated a unique aesthetic and developed their notoriously delicate and complicated creative process. In 2000, Greg and the band split leaving Daniel, Paul, and Carlos with a significant and reflective hiatus. It soon came about that Interpol would try out Sam, whom Daniel knew through the record store where Sam worked. Sam was perfect for the band as he gave Interpol a healthy shot of punk aggression and rhythmic backbone. Now with the line-up revitalized, Interpol resumed gigging at venues like Brownies, Mercury Lounge, and The Bowery Ballroom. Throughout 2000 and 2001 they opened for bands like ...And You Will Know Us By The Trail of Dead, Arab Strap, and The Delgados. Then came Interpol’s first release, at the end of 2000, in the form of the third installment of the FukdID EP series on Scottish label Chemikal Underground. Around the same time, the band also contributed an unreleased track, "Song Seven," to the Fierce Panda Records compilation Clooney Tunes. Popularity abroad increased as a result of regular rotation on London’s XFM. In April 2001 Interpol played in Glasgow, Manchester, and London, capping off their visit with a session for the famed John Peel. Later on in August and November, the group visited France with appearances at festivals La Route du Rock (St. Malo) and Festival Off (Paris) respectively. In November of 2001, the band tucked themselves away in Connecticut at Tarquin Studios to record their debut full-length. The album was recorded and mixed by Peter Katis (Mercury Rev, Clem Snide) and Gareth Jones (Depeche Mode, Nick Cave & the Bad Seeds, Clinic.)