The satisfaction Holy F*ck
take from being a band - a band at SXSW nonetheless - is plain to see in our latest concert release. Here, headlining our 2010 SXSW Day Party, the Toronto based four piece soak up the moment, letting their hard hitting, electro rock renditions wash over both their own bodies, and the packed house lined along the stage to take it all in. This is intense music meant for inhaling and letting circulate all throughout the bloodstream. Performing a slate of songs from their just released album Latin
(out today on Young Turks), the potency of their own music put some pep in the band's step, and plastered a general look of contentment across their faces. That kind of personal absorption obviously managed to find it's way to the crowd, creating what was probably the most enthusiastic response for any one band at the party. Today, we're pleased to release the show, allowing the performance to seep through the monitors/speakers and inebriate those of you at home for the first time. Careful...too much of this might have you feeling a little woozy. - David Pitz
If opposites really do attract, it makes perfect sense that Holy F*ck 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 F*ck 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 F*ck have not lost the chaotic and euphoric energy that they are known for. When it came time for Holy F*ck 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 F*ck 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 F*ck 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 F*ck 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 F*ck have become sought after.