Electronic pioneers and TSA’s favourite Canucks, Holy Fuck are rightly regarded as one of the best live bands around. In a rare visit to Scotland they’ll be bringing their euphoric Casio Tone melodies and processed beats to a field nearish you when they play the Saturday at this year’s Doune the Rabbit Hole. Their live sets are a testament to the excitement of bands truly living on the edge of control, placing them in a different universe from the press play and pretend to twiddle your knobs knobs that ruin the genre for everyone else.
Really looking forward to your Doune The Rabbit Hole gig. In particular the track ‘Chains’ from the new EP sounds like a proper 2am in a field type track to me so really looking forward to hearing that live in field even if not at 2am.
Rad! Thanks. We’ll do our best to channel a 2am vibe.
There was a pretty big gap between Latin and Congrats, not sure how many people were expecting a new set of tracks from you a year after Congrats. Actually is it the shortest window between releases for you as a band? How did that come about?
We were expecting a gap between Latin and Congrats just knowing that we wanted a bit of a break and also wanted to take our time recording. But there were unforeseen logistical reasons why it was delayed. Boring stuff, like finding new management and new label and all that. It’s a drag but releasing records takes a long time now – just waiting in the queue for vinyl to be pressed can hold up a record for half a year. So this time we wanted to make sure we circumvented all of that. Why not just take four songs we love and mainline them to people’s ears via streaming and digital download. If we took time to craft another obligatory six songs and got in the usual queue for vinyl and had an army of people trying to build a clever ‘campaign’ it could’ve easily taken another two years. We want to set a precedent for ourselves. We want music to be more free-flowing.
Was there a particular idea or strategy behind the EP?
Aside from wanting to follow up Congrats quickly, we also felt that the vibe of Bird Brains was what we wanted at this stage in the band. We like that two songs are strong, potential singles, another is a giant behemoth that would’ve weighed down a full length. And the fourth is something else – a moody soundscape. Everything had purpose in this compact release. It wasn’t b-sides or filler. There will always be room out there for a b-side as a bonus track or something. But we wanted this to be more.
Can you tell us a bit about how collaborating while living in different cities worked for you?
It isn’t ideal – not for us because we have always been the type of band that connects together in one place, one room, making music together. Commonly producers work remotely and share files. That’s not our kind of project. So it has slowed down how often we get together to make music. But it has also focused those sessions into being productive – we don’t take our time together for granted. So now we take sabbaticals to various retreats where we can not only be creative but also record and actually work on the final product. It’s fun in that regard. We have self-imposed rock camp.
How are the new tracks developing as you play them live with an audience?
For us the new tracks are the ones coming next. We try to sprinkle a few of them throughout our set. But we’re building such a large body of work at this point where it’s hard to kick one song out to make room for a new one. So we introduce new material slowly, um, like poison in your food.
What’s your favourite piece of kit these days?
For me it’s still the mixer. The hub where not only everything gets plugged in but also the ‘instrument’ I play the most. Though not typically an instrument I use it wired in such a way that it is constantly feeding back and morphing sonically with everything I plug into it. So it’s my instrument I guess – it’s my version of a guitar or drum kit.