Afraid that electronic presets and affectations will inevitably date the sound of today's dance and rock music, Holy Fuck decided to strip away hi-tech gear in favour of the nearly unmanageable lo-tech battery operated keyboards. The often cheesy beats like rhumba, disco and techno emitted by these half-broken kid's toys are then manipulated with guitar pedals and distorting cheapo mixers. Holy Fuck's drummer and bassist then kick in, accompanied by other outlandish sounds such as 35mm film being scratched over tape heads. While the material was recorded for the most part in a studio environment, Holy Fuck recorded it live, as if on stage. Therefore the songs still breathe a live frenetic energy. The final sheen of the studio feel may come largely from the mixing hands of both Eli Janney (Girls Against Boys) and Dave Newfeld (Broken Social Scene).
‘LP’ then is a riot of distorted sounds and heavy beats from start to finish. Kick-starting with a live version of ‘Super Inuit’, it’s a mass of tribal drums sounds and hypnotic, pulsing synth lines and shows the full force that Holy Fuck possess as a live band. A subtle introduction to the band this ain’t – it’s not the Holy Fuck way.
Holy Fuck are not afraid to mix things up either, as the funky ‘Milkshake’ ably demonstrates, with its electronic twists and turns and pounding drum beat, while ‘Echo Sam’ is a crunching, bass-heavy industrial monster. Unlike most modern electronic/dance acts around, Holy Fuck have the one thing most of their peers lack – an element of surprise. ‘Lovely Allen’ is a contagious, kaleidoscopic pop masterpiece that bursts in to life with a glorious, sunshine-led synth backdrop. On the flip side, you have “Safari,” which opens with a fanfare-style trumpet intro but mutates into a brooding, high-octane, techno classic.
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