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Holy F**k

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Album Review

Toronto electro-rockers Holy F**k are clearly banking on the continued rise of satellite radio, because they're just not gonna get that far in a broadcast world still under FCC restraints. The eight lengthy songs on their debut album are largely improvised, with two drummers (one of them, surprisingly, Glenn Milchem from the languid AAA country-rockers Blue Rodeo) and three keyboardists creating completely rhythm-oriented instrumental grooves that are introduced, percolate around for five to eight minutes with little variation, and then recede. So melody and lyricism are entirely beside the point here, but what makes Holy F**k something far more interesting than the average LCD Soundsystem knockoff is the album's thrillingly live feel. In a style of music that's mostly created by pressing buttons and manipulating touch screens, the drummer-powered, live-in-the-studio feel of Holy F**k provides both musical excitement and textural variety missing from most similar electro-dance albums.

Biography

Formed: Toronto, Ontario, Canada

Genre: Alternative

Years Active: '00s, '10s

The Toronto-based electronic collective Holy F**k were formed in 2004 by Graham Walsh and Brian Borcherdt. Described as "blip-hoppers" and "a shabbily dressed Kraftwerk," Holy F**k began creating lo-fi electronic noise music with old analog musical and non-musical instruments, including a 35mm film synchronizer. Without the use of laptops or other conventional electronic instruments, they strove to re-create...
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Holy F**k, Holy Fuck
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