Before joining the Fat Cat roster, the band, a fiercely independent D.I.Y. unit released three critically acclaimed EPs - the first a one-sided, hand-etched limited run of only 15 transparent ten-inch records; the second another handmade venture, a limited release of only 50 CDs which were accompanied with parts and instructions for a synthesiser; and the third, a 12” on Hemlock Recordings, the label responsible for pioneering releases by Fantastic Mr Fox, Mount Kimbie and James Blake.
Their much-anticipated live shows sees them shrouded in black hoods manipulating guitars, bass, synths, drums and laptops to create a truly original melee incorporating hip-hop, electronica, cinematic soundscapes. Onstage, they are lit only by the glow of their emphatic self-shot visuals, cut and edited live, in real-time by their touring fifth member.
“Edward the Confessor” is regarded as one of Breton’s favorite tracks to perform live, however, I would be remiss in saying that the song itself, though an intellectually exciting menagerie of math-rock, indie hip hop, dubstep, and electro, is but one part of their larger agenda.- KEXP Song of the Day
Breton are a peculiarly modern proposition. They didn’t start out as a band but swerved into it when they began producing live soundtracks to their films. That this ‘art collective,’ incubated in south London’s makeshift spaces – all sketchy car parks and vibrant experimentation – should turn out a debut as casually brilliant as ‘Other People’s Problems’ is not surprising in itself. But that it should sound so vital, kind of is. That sound you hear, by the way, is a million dole-queue guitar bands slipping from the ledge of impotence into the abyss of irrelevance.
This outsider, multimedia-led perspective, rather than affording them a mannered distance, has resulted in a bold, promiscuous approach to art-rock, reminiscent of the auteurism of These New Puritans or the uncompromising intelligence of Foals. Opener ‘Pacemaker’ begins with a field recording of rolling stock, before segueing into a violin arrangement by German composer Hauschka – commissioned specially by Breton, apparently – which is then cut up, sampled and mixed up with a scuzzy, overdriven hip-hop beat. As openers go, it exemplifies the wealth of ideas that power the band like a batch of military-strength amphetamines. - NME
TICKETS ARE AVAILABLE ONLINE AND YOU WON’T WANT TO MISS OPENERS YPPAH AND JONTI. NO SERIOUSLY. YPPAH IS A NINJATUNE ARTIST AND JONTI IS PART OF THE STONES THROW FAMILY SO THIS SHOW WILL BE EPIC.