Holy F**k: Salty Name, Smooth Electro-Indie Sounds

Holy Fuck isn't trying to shock you, despite the indie-electro outfit's titillating name and frequent use of random electronics in the creation of its particular blend of pulsating, intelligent dance music. These guys just want to show you a good time, and perhaps leave you with a little bit more.

Recently, Rocks Off caught up with Holy Fuck's Brian Borcherdt to discuss the mind-expanding possibilities of 35mm film editing equipment, the life of a perpetual opening band, and traditional Jewish music.

Rocks Off: What do you think makes Holy Fuck different from other indie/dance/electro-oriented outfits?

Brian Borcherdt: I don't know. We don't really pay attention to that world, particularly. We naively go about doing what we're doing without thinking too much about that genre, not really worrying about how we fit into that world, or any genre or scene.

RO: Are you guys still using a lot of non-musical instruments?

BB: Yeah, we all played in other bands, so we all got together to do something different. Like I'm a guitar player. I don't really have any history or experience with anything other than guitar. We all thought that a sure-fire path to being creative, and to challenge ourselves, was to use things nobody had ever used before, or that not many people use, or that weren't really intended for use outside of being, you know, toys for kids, or anything that makes sounds.

RO: What percentage of your sound comes from actual musical instruments, vs. those sorts of found objects?

BB: Well, I mean, I think at the end, we're not totally in the realm of outer-space. We're not reinventing anything. One of the most prominent things you hear in a Holy Fuck record is drums and bass guitar. In that respect, we're pretty much just a rock band. It's drums and bass, and just really adding textures, but in the end, it should all sound familiar.

RO: Over the years spent working with non-traditional instrumentation, what sticks in your mind as a favorite?

BB: I'm partial to the synchronizer. It's old film editing equipment. It has tape heads built into it, so you can sort of scroll back and forth with movie audio and stuff. It sounds cooler than it is. It's really just kind of trippy, psychedelic sounds.

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RO: What kind of moods are you trying to elicit with your music?

BB: Most of it comes about on the stage. Even if it's subconscious, I think we kind of follow the feeling of the room, and what people are responding to. It's danceable, and that's always been one of the joys for me, from the beginning of the band, that you could find something to share that was ecstatic enough that people could just sort of lose themselves in it. At the same time, we want it to be something that captivates you beyond just the moment. We want to be more than just a one night stand.

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