BLATANT AD: free tickets to see Broadcast live in Australia: BLATANT AD
The way free giveaways usually work is this.
- You get to sign up to some dumb mailing list that you spend the next six months desperately trying to unsubscribe from
- You get to answer some dumb question relating to the band and/or record label and/or website, thereby giving the spurious illusion that there is some form of a) skill and b) competitive element involved.
- You end up listening to, or going to see, some piece of mediocre crap you never in a million years would normally have bothered with.
Fuck that. Those fine people at Popfrenzy (who still haven’t signed The Deadnotes + The Legend!: HINT) have just offered Collapse Board a bunch of free double-passes to go see Broadcast when they tour Australia. This is a band we heartily recommend. A fine band. A band of oblique angles and elliptical curves. A band of reverb-drenched harmonies and radio static memories. (Uh, I’m paraphrasing here.) A band that have travelled – or, strictkly, are about to travel – all the way from the UK to play Australia… even Perth and Brisbane. And Seekae and CB favourite Pikelet are supporting on all dates!
“Big deal,” I can see you thinking. “I don’t know who the fuck they are,” I can see you thinking, “Collapse Board will only have tickets for Brisbane”. (Of course, I can’t really visualise your thoughts, but that didn’t stop eminent local Seattle journalist Charles ‘Chris’ Cross dedicating an entire chapter of his Nirvana opus Heavier Than Heaven to the thoughts running through Kurt Cobain’s head shortly before he killed himself. If we are to believe that Mr Cross is indeed a respectable journalist and one proud of his sources, then the Seattle police should be taking a very close look at that chapter, a very close look indeed. That’s all I’m saying. Sorry. I digress.)
RIGHT RIGHT WRONG!
Collapse Board has tickets for
(I would list all the dates and venues here, but for Bangs’ sake, can’t you just look at the visual at the top of this blog entry?)
Here’s an old review of a old Broadcast album from the excellent UK music critic Frances Morgan, written for Plan B Magazine.
The Future Crayon
Broadcast often saved their most elliptical moments for the b-sides, using them to showcase the best of their spectral, vague pop and odd stylistic experiments. This collection of 18 tracks from their post-1998 EPs opens accordingly with the reverb-drenched, woozily plotted ‘Illuminations’, on which Trish Keenan’s blank vocals evoke Francoise Hardy processed by the BBC Radiophonics Workshop; the airwaves are crackling, tuned to receive sorrow and experience in the form of bursts of bassy, unidentifiable noise. ‘Small Song IV’ is a hint of a nightmare, all skinny ghost hands and winding, modal vocals. Prog-jazz experiments follow (‘One Hour Empire’), then organ and ring-mod terror grooves fit to accompany a futile escape dash down Portmeiron beach (‘Hammer Without A Master’). From jazz-inflected waltzes to strung-out flotsam-pop to the occasional surprise freakout and Morricone pastiche (‘Belly Dance’), two constants remain: Neil Bullock’s loose, inventively recorded drumming, which was sorely missed on last album Tender Buttons, and Broadcast’s distinctive electronic sound-world, all wrinkles in time and semi-detached transcendence. At their very best, Broadcast promise to disperse not only themselves but you the listener into nothing but particles – into comforting non-existence and soft, static memories.
Frances May Morgan
And here’s a video specially made for the Australian tour.
So what the fuck are you waiting for? You want tickets to go see Broadcast in Perth, Melbourne, Sydney or Brisbane, drop us a line on email@example.com and… that’s it. Drop us a line.
So why are we doing this? What’s in it for us? Because we FUCKING LOVE YOU!? Ah, get to fuck. Bollocks to that. We don’t even know you. We just like to support the bands we think are worth supporting.
As always, the editor’s decision is final.