Holy Fuck are festival circuit veterans, having played some of the biggest festivals in the world: Coachella (California), Vegoose (Las Vegas, Nevada) SXSW (Austin, Texas), POP Montreal, and the Montreal Jazz Festival. They have toured with Buck 65, Wintersleep, Metric, Wolfparade, and Talib Kweli to name but a few.
Holy Fuck tries to “mimic modern electronic music without using modern fail-safes like laptops and programmed backing tracks,” according to their official bio.
Holy Fuck has just finished an extensive series of European concerts with Buck 65, including stops at The Great Escape Festival in Brighton, UK and Dublin Castle in London, UK.
They do it with duct taped keyboards, film editing gear, and without rehearsing. If you can plug it in, Holy Fuck will make music with it. The line up continues to mutate but maintains its core: Brian Borcherdt, Graham Walsh, Kevin Lynn, and alternating drummers Glenn Milchem and Loel Campbell.
“Holy Fuck waste no time blasting into high gear on a rocket set for the centre of your pelvis, making it sway with a mixture of funky sensibility and chaotic urgency. As the swirling insanity builds and releases, you’ll be powerless to avoid getting caught up in Holy Fuck’s celebratory spasms.”
– Eye Magazine review of “Holy Fuck”
“Holy Fuck blasted out opulent streams of saturated melody, clouds of glitter and confetti, nitrous-boosted dance dynamics. The live success of Wolf Parade’s spiky indie rock would hinge upon their level of exuberance, and Holy Fuck set the bar awfully high.”
– Pitchfork Media review of 2006 show with Wolfparade
“Top 10 Albums : Holy Fuck self-titled (Dependent) Best Show : Holy Fuck, Main Hall, Nov. 18 2005”
– Montreal Mirror 2005 Year in Review
“Lo-tech Toronto improvisers Holy Fuck are everything a party-oriented instrumental dance group should be – primal, rhythmic, flowing and, above all, exciting – but they don’t use laptops or computer programs to get their hip-wiggling results. Instead they use cheap keyboards, a barrage of beat-up guitar pedals, old-school toy instruments and a wealth of unconventional and spontaneous lo-fi approaches to produce their swirling, manic sound, which closely mimics the ideals of electronic performance.”