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      Electronica / Experimental
      We often say casually that bands are “awesome” without thinking about the true meaning of the word – Holy Fuck actually inspire awe. Pitchfork If opposites really do attract, it makes perfect sense that Holy Fuck would chose a barn in rural Ontario to record a series of dynamic electro-noise p... read more
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      We often say casually that bands are “awesome” without thinking about the true meaning of the word – Holy Fuck actually inspire awe. Pitchfork

      If opposites really do attract, it makes perfect sense that Holy Fuck would chose a barn in rural Ontario to record a series of dynamic electro-noise pop that compose their latest full-length release, titled Latin.

      Where Holy Fuck in the past were a rotating cast of musicians, Latin showcases for the first time their consistent touring line up. Drummer Matt Schulz and bass player Matt McQuaid provide a complex rhythm foundation that at times feels like an invisible hand leading you through a dark hedge maze. Perhaps an excessive feat for most, but this provides the ideal underpinning as Brian Borcherdt and Graham Walsh merge a twin effects/feedback tangle that is equal parts entrancing and inspiring.

      The band had an absurdly busy touring schedule in 2008/2009 and Latin undoubtedly benefited from the near nightly shows. There is an added dimension of song craft on the album – Latin brings noise and melody together with an uncanny sense of optimism – but at the same time Holy Fuck have not lost the chaotic and euphoric energy that they are known for.

      When it came time for Holy Fuck to record, songs were cut live off the floor during their brief downtime at home. Delivered in trimesters, Latin was engineered by Graham Walsh and mixed by Dave Newfeld (Broken Social Scene), D. Sardy (Johnny Cash, NIN), Eli Janney (GvsB, Wilco,), Paul Epworth (Bloc Party, Primal Scream) and Holy Fuck themselves. It’s the follow up to 2007’s simply titled LP which Filter described as “nine perversely noisy, mind-bogglingly ferocious freakouts” and Spin said of it “Holy Fuck play the sort of id-gripping dance rock that’s best experienced in person. Luckily (LP) retains the raw energy of the live show, even without the visual barrage.”

      With high praise from peers, critics, big name endorsements and ascension on festival bills, Holy Fuck have the divine right to be profane. And with respected music luminaries Thom Yorke and Lou Reed passing on kind words about studio recordings and live performances, it’s no wonder Holy Fuck have become sought after.

      Toronto’s Holy Fuck creates dance music that careens off the grid yet possesses a ragtag sense of discipline…(the band) galvanizes with rambunctious grooves that’ll make you shake your can and cause you to wonder why more techno doesn’t fizz with this kind of raw, triumphant energy. XLR8R


      Press Quotes

      “hazardously cascading layers of off-kilter rhythmic lattice-work, which seemed to be having an effect on the modestly large audience not unlike that of an electric fence – everyone appeared captivated, but no-one was getting close enough to feel its charring pulse move and shake the soles of their feet

      …We joined the entranced crowd and and swiftly got lost in Holy Fuck’s otherworldly backdrop video and all of the previously unseen worlds of multi-layered psychedelic mayhem it was revealing. Combine that with the Holy Fuck foursome’s pummeling funk bass, rollicking drum-kit and fire-hazard-like tables of wires and effects, and you were looking at two instantly catapulted heads full of rhythm and psych.” [Kevin Hainey, Eye Magazine Online]

      “Call them purveyors of unintelligent dance music – the laptop-free Holy Fuck soundsystem couldn’t care less. They’ll keep tweakin’, twistin’ and punching their effects pedals, turntables, film synchronizer, bass and drums in an engrossing improv dubwise style.” [Now Magazine NXNE Picks]

      “This Canadian mega-group ply an interesting trade of organic electronica where they shun all usage of laptops, pre-programmed backing tracks in favour of Real Instruments with Real Soul creating experimental improvised songs where not even they know what will happen.” [DrownedInSound May 2006]

      “Holy Fuck shows are frantic, exuberant realizations of time and place, extemporaneous music-making sessions more open to the possibilities of improvisation than most American acts toting a jamtag” [The Independent Weekly]

      “You will have the contours of your brain worn down by shards of liquid magma noise and you will embrace every second with the grin of a baby that has just discovered its feet at the end of its legs.” [New-Noise.net UK]

      “The sound ranges from Nintendo-ish blips and beeps to space-age-y static and more typical electronic fare: huge freakout breakbeats anchored by swiveling bass guitar. What’s surprising about Holy Fuck is the band’s range of registers. Though most of the set is upbeat, faux-trad indie-dance music, a few pieces thrown in at the end hit melancholy notes, with Walsh’s yearning melodica sliding in and out of a sober five-note backriff. The set ends with a reverb-heavy, sun-is-rising/new-day-is-born meditation on life. It’s something that could have been copped from Sigur Ros—it’s that earnest and genuine.” [POP Matters March 2007]

      “Holy Fuck blasted out opulent streams of saturated melody, clouds of glitter and confetti, nitrous-boosted dance dynamics…Holy Fuck set the bar awfully high.” [Pitchfork Media April 2006]

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