DANCE ANALOGICA

Toronto’s sub-techno-dance-rock quartet Holy Fuck earns its audacious moniker onstage, creating dance grooves on the fly, with steampunk gear and real drums and bass. Knob-twiddlers Brian Borcherdt and Graham Walsh face off across a table covered with keyboards, effects pedals and a film-editing machine played by pulling tape across the heads. Bassist Matt “Punchy” McQuaid and drummer Matt Schulz (from Enon) lay it down. When Holy Fuck launches into the nasty dark groove of “Frenchy’s,” you’re transported to a rave at The Limelight, or on the anthemic nerd-melodia of “Lovely Allen,” a jubilant dancetopia at the ruins of the Berlin Wall. You can’t not bounce. “The danger you run into when you’re making electronic music is that you have this synthetic medium that unconsciously is subject to the aesthetic values of that time,” Borchardt says. “The idea was, ‘Let’s try to fuck around with electronic music, but let’s try to keep it in that realm of the uncanny, this weird stuff where we’re using Casios and kids’ toys and home-found objects to try to mimic that stuff.’ In the end, hopefully, what we ultimately come up with is something that’s out of phase with what’s going on.” www.holyfuckmusic.com

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