Dreams come in Sound …

Dreams come in Sound. Sounds come in Dreams.

Can’t even begin to describe the feelings that I get when I hear Broadcast – Definitely a reminder of a certain time and space – dreamlike.

Many a drive – many a makeout – sounds that bring me back. SO good to rediscover music that I once played on repeat.

RIP Trish Keenan.

From WikiPedia:

Broadcast are an English indie electronic band, founded in Birmingham, England in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass). The band has released three albums as well as several EPs, singles and EP collections, with their first studio album, The Noise Made by People, being released in 2000. Their musical style blends elements of 1960s American psychedelic rock with electronica, incorporating samples from various sources, and earned the band a cult following.[1]

Broadcast’s musical style, a mixture of electronic sounds and Keenan’s 1960s-inspired vocals, was heavily influenced by the 1960s American psychedelic group the United States of America,[21] using many of the same electronic effects.[22] The band were also known for using samples taken from both library music compilations and real-life field recordings.[23]

Keenan performing with Broadcast in 2010

Keenan said that the group “[listens] to alot of soundtracks”,[7] and in a 2007 interview, she stated that the group aspired with each album to “make a soundtrack for a film that doesn’t exist.”[24] In their early years, the band was frequently compared to acts such as Portishead and Stereolab.[3] The group’s musical output, according to journalist Mikey Jones, “fused the worlds of pop songcraft and experimentally-minded electronic music into a contemporary blend of psychedelia that resonated deeply with listeners, effectively expanding the conventions of what could be considered psychedelic.”[3]

Other recurrent elements in the band’s music (particularly their first two albums) were “science fiction” atmospheres and “skewed variants” of swing and jazz music, which “offered a Eurocentric counterpoint to the mostly American psych innovators they’d imbibed.”[3] In a review published in Spin in 2001, the band were likened to being “stuck in a time warp–the sound of ’70s wife-swapping parties with beanbags and unhappy children serving sausages on sticks.”[25]

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