Broadcast | ||
| Allmusic Biography : Space age pop collagists Broadcast formed in Birmingham, England, in 1995; comprised of vocalist Trish Keenan, guitarist Tim Felton, bassist James Cargill, keyboardist Roj Stevens, and drummer Steve Perkins, the quintet came together out of a shared affection for the psychedelic cult band the United States of America, a primary influence on their subsequent work as a group. Debuting in 1996 with the Wurlitzer Jukebox label single "Accidentals," Broadcast immediately won favorable comparisons to Stereolab for their sample-heavy, analog, synth-driven sound; the comparisons continued when they signed to Stereolabs Duophonic Super 45s imprint for their next effort, "Living Room." After the icily atmospheric Book Lovers EP, the group moved to Warp Records to release 1997s Work and Non-Work, a compilation of their existing singles tracks. The much-anticipated full-length The Noise Made by People finally appeared in early 2000 and the Extended Play Two EP was issued that fall. Ever the studio perfectionists, Broadcast made fans wait until 2003 to hear any new material from the band, when the Pendulum EP arrived that spring and Haha Sound appeared that summer. In fall 2005, Broadcast -- pared down to the duo of Keenan and Cargill -- issued the Americas Boy single and Tender Buttons full-length. Released in 2006, Future Crayon collected the groups numerous rare tracks and B-sides. The band resurfaced in fall 2009 with Broadcast & the Focus Group Investigate the Witch Cults of the Radio Age, a collaboration with the Focus Groups Julian House that took their sound in a spookier direction more overtly influenced by their interest in library music. In support of the album, Broadcast toured with Atlas Sound and issued a tour-only EP, Mother Is the Milky Way. Keenan passed away on January 14, 2011, due to complications from pneumonia. Two years later, the score to director Peter Stricklands 70s giallo cinema homage Berberian Sound Studio -- which Broadcast began working on before Keenans passing and featured some of her final vocals -- arrived. | ||
 | Album: 1 of 13 Title: The Book Lovers Released: 1996 Tracks: 4 Duration: 17:27 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Book Lovers (05:32) 2 The World Backwards (03:59) 3 Message From Home (04:47) 4 According to No Plan (03:08) |
 | Album: 2 of 13 Title: Work and Non Work Released: 1997-06-09 Tracks: 9 Duration: 36:10 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Accidentals (03:28) 2 The Book Lovers (04:49) 3 Message From Home (04:59) 4 Phantom (03:31) 5 Weve Got Time (04:13) 6 Living Room (03:26) 7 According to No Plan (03:08) 8 The World Backwards (04:00) 9 Lights Out (04:32) |
| Work and Non Work : Allmusic album Review : Warps first rock/pop signing since Pulp (yup, Pulp) were Stereolab-soundalikes Broadcast, whose early singles for Wurlitzer Jukebox and the Labs own Duophonic label attracted much attention for the their sing-songy fusions of Tortoise-y groovebox meandering and clean-room electronica. Work and Non Work, the groups Warp debut, is really nothing more than a compilation of those singles ("Accidentals," "Living Room," and The Book Lovers EP, to be exact). As a mini-LP for the new initiate, it serves as a handy one-stop updater, but since most of it appeared elsewhere within the previous six months and not a single second of previously unavailable material is included, its not worth much to fans of any duration. | ||
 | Album: 3 of 13 Title: Extended Play Released: 2000-02-21 Tracks: 4 Duration: 17:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Papercuts (04:32) 2 Belly Dance (04:44) 3 Where Youth and Laughter Go (04:32) 4 Daves Dream (04:00) |
 | Album: 4 of 13 Title: The Noise Made by People Released: 2000-03-20 Tracks: 12 Duration: 45:34 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Long Was the Year (03:38) 2 Unchanging Window (03:48) 3 Minus One (02:02) 4 Come On Let’s Go (03:17) 5 Echo’s Answer (03:12) 6 Tower of Our Tuning (04:30) 7 Papercuts (04:32) 8 You Can Fall (04:24) 9 Look Outside (03:53) 10 Until Then (03:51) 11 City in Progress (03:37) 12 Dead the Long Year (04:46) |
| The Noise Made by People : Allmusic album Review : After being mired in the studio for nearly three years, Broadcast returned with their first proper full-length album, The Noise Made by People, a collection of more shimmering, weightless pop that is nostalgic for yesterdays visions of the future but remains on the cutting edge of contemporary music. Where their early singles (collected on 1997s Work and Non-Work) painted small, quaint portraits of their retro-futurism, The Noise Made by People delivers their sound in widescreen, filmic grandeur. Richly layered yet airy pieces like the album bookends, "Long Was the Year" and "Dead the Long Year," seamlessly blend symphonic, electronic, and pop elements into smoky, evocative epics, while synth-based interludes such as "Minus One" and "The Tower of Our Tuning" present Broadcasts more detached, scientific side. Likewise, Trish Keenans air-conditioned vocals sometime suggest a robotized Sandie Shaw or Cilla Black, but her humanity peeks out on "Come on Lets Go" and "Papercuts." "Echos Answer" and "Until Then" are two of the other highlights from the album, which despite all of its chilly unearthliness, is a noise made by (very talented) people. | ||
 | Album: 5 of 13 Title: Extended Play Two Released: 2000-09-25 Tracks: 5 Duration: 20:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Illumination (03:15) 2 Unchanging Window / Chord Simple (07:02) 3 A Man for Atlantis (03:14) 4 Poem of Dead Song (02:30) 5 Drums on Fire (04:33) |
 | Album: 6 of 13 Title: Pendulum Released: 2003-05-05 Tracks: 6 Duration: 19:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Pendulum (04:21) 2 Small Song IV (03:39) 3 One Hour Empire (01:42) 4 Still Feels Like Tears (03:41) 5 Violent Playground (02:11) 6 Minus Two (04:16) |
 | Album: 7 of 13 Title: Haha Sound Released: 2003-08-11 Tracks: 14 Duration: 44:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Colour Me In (02:51) 2 Pendulum (04:21) 3 Before We Begin (03:22) 4 Valerie (04:04) 5 Man Is Not a Bird (04:52) 6 Minim (03:00) 7 Lunch Hour Pops (03:36) 8 Black Umbrellas (01:08) 9 Ominous Cloud (03:46) 10 Distorsion (02:02) 11 Oh How I Miss You (01:17) 12 The Little Bell (02:48) 13 Winter Now (03:48) 14 Hawk (03:42) |
| Haha Sound : Allmusic album Review : On their early singles and brilliant debut album, The Noise Made by People, Broadcasts commitment to crafting meticulously, ethereally beautiful atmospheres gave their music a detached quality that made them somewhat difficult to embrace fully. This isnt the case on Haha Sound, the bands second album. While their music still sounds like it couldve been crafted by ghosts in the machine, now Broadcast give it flesh and blood through more warmth and texture. As with the Pendulum EP, Haha Sounds more human touch comes through in its looser, more intimate, and rougher sound. But aside from being warmer and more textured, the album is simply more, as its first three songs reveal. The delicately spooky nursery rhyme "Colour Me In" begins the album with the wistful, childlike viewpoint that creeps into Haha Sound from time to time, its layers of chopped up, sawing strings giving it an oddly and sweetly tentative feel. "Pendulum" finds the band digging deeper into their psychedelic influences, with acid rock drumming and flashback-like washes of sound making it one of the most tense, driving tracks theyve recorded. The Pendulum EP suggested that the entire album might be as wired and dissonant as this song, but tracks like "Before We Begin" quickly prove otherwise. A superstitious song about reuniting lovers, its gorgeous pop in the vein of "The Book Lovers" and "Come On Lets Go," but more approachable and that much more alluring because of it. The rest of Haha Sound more or less follows in the footsteps of these songs, but the variety that the band instills in the album makes it far from monotonous. A big part of Haha Sounds expansive feel is Trish Keenans increasingly expressive vocals; while she can still occasionally seem to be hovering slightly outside the songs, her delivery is much more vulnerable and emotive. Shes soothing on "Valerie," which is Broadcasts idea of a folk song or lullaby -- although with all of its eerie background noises, sleeping with one eye open is suggested -- ecstatic on "Minim," and poignant on "The Little Bell," another sweetly childlike song that sounds like Keenan is singing inside a broken clock. Noisier aspects find their way into interludes like "Distortion" and "Black Umbrellas," a curious, fuzzy oompah that picks up speed like an out-of-control assembly line. "Man Is Not a Bird" concludes with a playful, Raymond Scott-esque percussive exercise. The spirits of Scott and Joe Meek haunt the albums carefully deconstructed sound, most obviously on its more extreme tracks, but even on gentler songs like the flight of fancy "Lunch Hour Pops," which has a giddy, space-age sweetness akin to the Tornadoes "Telstar." This song, the beautiful "Ominous Cloud," and "Winter Now" suggest that Broadcast could probably make dozens of immaculate pop songs like these if they wanted to, but all the detours the band takes are precisely what make the more perfectly crafted songs so precious. Haha Sound may not be Broadcasts most superficially perfect album, but its a more challenging and exciting one because of its deliberate imperfections. | ||
 | Album: 8 of 13 Title: Tender Buttons Released: 2005-09-19 Tracks: 14 Duration: 40:38 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 I Found the F (02:21) 2 Black Cat (03:58) 3 Tender Buttons (02:51) 4 Americas Boy (03:34) 5 Tears in the Typing Pool (02:12) 6 Corporeal (03:55) 7 Bit 35 (01:49) 8 Arc of a Journey (05:17) 9 Michael A Grammar (03:57) 10 Subject to the Ladder (03:14) 11 Minus 3 (00:47) 12 Goodbye Girls (03:08) 13 You and Me in Time (01:24) 14 I Found the End (02:05) |
| Tender Buttons : Allmusic album Review : Reflecting their newly streamlined status as a duo, Broadcasts Tender Buttons strips their luminous electronic pop down to its barest essence. Initially, the album is a shock, and not always a pleasant one; many Broadcast fans have come to expect each release as a chance to be blown away by the groups ever-bigger and better sounds, and from their early EPs to the ornate Haha Sound, Broadcast seemed to challenge themselves by adding more layers and twists and turns to their music. Here, Trish Keenan and James Cargill push themselves to do more with much less. The pruning ends up being prudent; concentrating on just a few musical motifs, Tender Buttons has a uniquely fresh, modern feel. Sparingly applied beats, intricate but subtle guitars, and hazy synths dominate the album, providing a restrained backdrop for Keenans quietly commanding voice and crossword-puzzle lyrics. As if to underscore Broadcasts new aesthetic, Tender Buttons opens with some of its most radical departures: "I Found the F"s largely spoken vocals and driving bassline, "Black Cat"s austere pulse, and the title tracks whispery, sinister sensuality all stretch (or rather, shrink) the boundaries of what a Broadcast song can be. At first, these tracks just sound unfinished, but the beauty of their bareness reveals itself eventually. Not all of Tender Buttons is this naked. The single "Americas Boy" (which somehow manages to play into and dismiss the mythic American soldier at the same time) and "Arc of a Journey"s stargazing are a little more fleshed out, nodding to the full, swirling sound of Broadcasts earlier work without rehashing it. Likewise, "Michael a Grammar" and "Goodbye Girls" offer a more colorful, charming spin on the bands new approach. Still, Tender Buttons most restrained moments are often most striking: "You and Me in Time" plays like a delicately surreal update of Julee Cruises spacy torch-pop, while the absolutely stunning vignette "Tears in the Typing Pool" makes the most of an acoustic guitar and Keenans gorgeous vocals and evocative songwriting skills. Oddly enough, Tender Buttons simplicity makes it more demanding than Broadcasts other work; it requires more than just a few listens to sink in. However, the tension between Broadcasts catchy and aloof, experimental sides is what makes their music intriguing, and Tender Buttons is no different in that regard: even when it seems to be stripped bare, its still full of mystery. | ||
 | Album: 9 of 13 Title: Microtronics, Volume 02: Stereo Recorded Music for Links and Bridges Released: 2005-11-30 Tracks: 10 Duration: 14:37 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Microtronics 12 (01:31) 2 Microtronics 13 (01:38) 3 Microtronics 14 (01:30) 4 Microtronics 15 (01:42) 5 Microtronics 16 (01:08) 6 Microtronics 17 (01:27) 7 Microtronics 18 (01:27) 8 Microtronics 19 (00:56) 9 Microtronics 20 (01:33) 10 Microtronics 21 (01:42) |
 | Album: 10 of 13 Title: The Future Crayon Released: 2006-08-21 Tracks: 18 Duration: 1:09:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Illumination (03:15) 2 Still Feels Like Tears (03:41) 3 Small Song IV (03:39) 4 Where Youth and Laughter Go (02:43) 5 One Hour Empire (01:42) 6 Distant Call (03:33) 7 Poem of Dead Song (02:30) 8 Hammer Without a Master (04:58) 9 Locusts (05:00) 10 Chord Simple (04:38) 1 Daves Dream (04:00) 2 DDL (02:28) 3 Test Area (05:53) 4 Unchanging Window / Chord Simple (06:59) 5 A Man for Atlantis (03:14) 6 Minus Two (04:16) 7 Violent Playground (02:11) 8 Belly Dance (04:48) |
| The Future Crayon : Allmusic album Review : Collecting most of Broadcasts EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the bands output is. Indeed, the bands other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups full-length albums. Future Crayon isnt quite that cohesive, but it does chart how Broadcasts sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Twos "Illumination" is particularly gorgeous, opening with an insistent bassline and Trish Keenans coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, "Still Feels Like Tears" from the Pendulum EP takes the title tracks stripped-down psych-rock in a lighter, sweeter direction, while Extended Plays "Where Youth and Laughter Go" begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the bands music, which usually only appears as brief interludes on their albums. 1998s "Hammer Without a Master," which originally appeared on the Warp comp We Are Reasonable People and is one of this collections rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with "Daves Dream," it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named "Chord Simple" is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of "Unchanging Window." While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesnt always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music. | ||
 | Album: 11 of 13 Title: Broadcast and The Focus Group Investigate Witch Cults of the Radio Age Released: 2009-09-22 Tracks: 23 Duration: 48:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Intro / Magnetic Tales (00:38) 2 The Be Colony (04:31) 3 How Do You Get Along Sir? (01:10) 4 Will You Read Me. (01:20) 5 Reception / Group Therapy (01:20) 6 A Quiet Moment (00:58) 7 I See, So I See So (02:08) 8 You Must Wake (01:35) 9 One Million Years Ago (02:16) 10 A Seancing Song (02:19) 11 Mr Beard, You Chatterbox (01:24) 12 Drug Party (01:28) 13 Libra, the Mirrors Minor Self (02:45) 14 Loves Long Listen-In (01:47) 15 We Are After All Here (02:32) 16 A Mediums High (02:29) 17 Ritual / Looking In (04:20) 18 Make My Sleep His Song (02:41) 19 Royal Chant (02:14) 20 What I Saw (01:02) 21 Let It Begin / Oh Joy (03:28) 22 Round and Round and Round (01:39) 23 The Be Colony / Dashing Home / What on Earth Took You? (02:30) |
| Broadcast and The Focus Group Investigate Witch Cults of the Radio Age : Allmusic album Review : Broadcasts music has always been a little unearthly, so Broadcast and the Focus Group Investigate Witch Cults of the Radio Age isnt so much a departure as it is an inspired homage to their influences. Valerie and Her Week of Wonders and its alternately innocent and menacing soundtrack inspired the band years before the movie was rediscovered. The whimsy and strangely familiar feel of 60s and 70s library music could also be heard in their music from the beginning, but never more clearly than on this mini-album. Broadcasts more esoteric side is heightened by the Focus Group, whose Ghost Box label is ground zero for the evocatively named hauntology micro-genre, which digs deep into vintage electronics and notions of what people thought the future would be like -- two things Broadcast have always done, even if theyre not explicitly part of the hauntology crowd. ...Investigate Witch Cults of the Radio Ages highly detailed, evocative miniatures replace Tender Buttons stark clarity with softly busy collages full of literal and figurative layers. Analog synths, distant beats, guitar arpeggios, and clouds of Trish Keenans vocals flit in and out of snippets like "Will You Read Me" in a gently disorienting and deeply trippy fashion. Yet the feel goes beyond being merely druggy, although the funky "How Do You Get Along Sir?" and self-explanatory "Drug Party" certainly imply chemical enhancement. Most tracks radiate a spectral purity, or suggest something as hallucinatory as ghosts taking drugs. "We Are After All Here," which superimposes Keenans voice with backwards vocals, shimmering electronics, and crowd noises, sounds like two worlds layered over each other -- and its impossible to tell whos on which side of the divide. But while ...Investigate Witch Cults of the Radio Age has a few spooky moments, most notably "Libra, the Mirrors Minor Self," its more charmingly odd than unnerving, with the dusty warmth of mellowing in an attic somewhere. "The Be Colony" echoes Haha Sounds cheerfully aloof psychedelic pop, with Keenan sounding as blankly sweet as a childrens show host as she sings "all circles vanish"; "I See, So I See So" invokes winter with brittle chamber music; and the half-dirge, half-lullaby "Make My Sleep His Song" may be the albums most beautiful melody. Despite the meticulous layering and arrangements in songs like these and "Ritual/Looking In" -- which sounds like a never-ending sunrise called into being by a magical flute -- the album is so open-ended that it often sounds like field music. Its not surprising that Broadcast would imbue so much creativity into what other acts would consider a stopgap release, but ...Investigate Witch Cults of the Radio Age is still unique in their body of work. Not so much a soundtrack to a film that was never made as it is music that demands images to accompany it, this is a welcome return after the four years of silence that followed Tender Buttons. | ||
 | Album: 12 of 13 Title: Mother Is the Milky Way Released: 2009-10 Tracks: 11 Duration: 19:20 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Creation Day the Travel Flute Way (00:33) 2 In There the World Begins (03:28) 3 Elegant Elephant (02:36) 4 Through the Gates of Yesterday (00:43) 5 Milling Around the Village (01:46) 6 The Aphid Sleeps (03:29) 7 Growing Backwards (00:19) 8 Im Just a Person in This Roomy Verse (01:55) 9 Never Trust a Rusty Bolt (00:42) 10 Innocence in Orbit (00:37) 11 Mothers Milk Means Music (At Home in the Universe) (03:07) |
 | Album: 13 of 13 Title: Berberian Sound Studio Released: 2013-01-07 Tracks: 39 Duration: 37:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 A Breeze Through the Burford Spur (00:36) 2 The Equestrian Vortex (01:21) 3 Beautiful Hair (01:00) 4 Malleus Maleficarum (00:45) 5 Mark of the Devil (00:40) 6 Confession Modulation (00:27) 7 Monica’s Fall (00:24) 8 Teresa’s Song (Sorrow) (00:58) 9 The North Downs Dimension (01:05) 10 Collatina Is Coming (01:22) 11 Such Tender Things (00:47) 12 Teresa, Lark of Ascension (03:37) 13 Monica’s Burial (Under the Junipers) (01:00) 14 Found Scalded, Found Drowned (00:56) 15 Monica (Her Parents Have Been Informed) (00:57) 16 The Fifth Claw (01:26) 17 Saducismus Triumphatus (00:33) 18 The Gallops (01:04) 19 They’re Here, They’re Under Us (00:23) 20 Collatina, Mark of Damnation (01:37) 21 Treatise (01:02) 22 A Goblin (00:32) 23 The Equestrian Library (00:54) 24 The Serpent’s Semen (00:06) 25 Burnt at the Stake (01:33) 26 All Chiffchaffs (00:31) 27 The Curfew After the Massacre (00:30) 28 Poultry in Mind (00:24) 29 The Sacred Marriage (01:12) 30 Valeria’s Burial (Under the Fort) (00:54) 31 Edda’s Burial (Under the Clumps) (00:41) 32 The Game’s Up (00:37) 33 It Must’ve Been the Magpies (00:48) 34 The Dormitory Window (00:58) 35 Anima di Cristo (00:31) 36 His World Is My Shed (00:49) 37 Collatina’s Folly (00:47) 38 Here Comes the Sabbath, There Goes the Cross (00:32) 39 Our Darkest Sabbath (03:08) |
| Berberian Sound Studio : Allmusic album Review : Considering the influence cult films and their music had on Broadcast, its fitting that the band wrote a score of their own. And since sound design -- particularly the BBC Radiophonic Workshops groundbreaking work -- also played a significant part in their music, its even more apt that they scored Peter Stricklands Berberian Sound Studio, a film about Gilderoy, a hapless English sound engineer working on an Italian horror movie in 1976. The film in question, The Equestrian Vortex, is never shown, leaving audiences to envision its horrors as Gilderoy stabs watermelons, rips vegetables, and sizzles cooking oil to obtain the perfect terrifying sound. Similarly, Broadcasts music provides a vivid backdrop not just to The Equestrian Vortex, but Gilderoys response to his part in crafting it. "Monicas Fall," which layers breaking glass, a blood-curdling scream, a screeching synth, and a sickening splat, needs no visuals to horrify, while the field recordings of laughing girls and chirping birds on "Such Tender Things" take on a deeper voyeuristic cast. Just as Strickland reinterprets Argento and other giallo masters, James Cargill and Trish Keenan take inspiration from Ennio Morricone and the other composers and engineers who shaped the feel of those films on a subtler, but arguably more lingering, level than their Grand Guignol visuals. Berberian Sound Studio recalls Broadcast & the Focus Group Investigate Witch Cults of the Radio Age in its brief, brilliant pieces, though the score is more restrained. Most of it is remarkably soft, full of whispery flutes, organs that teeter between sacred and sacrilegious, and melodies that nod to medieval music as well as the 70s. Keenan and Cargill present interlocking themes that create an air of quiet suspense masterfully: the graceful melody of "The North Downs Dimension" and "The Gallops" is demurely mysterious, while "It Mustve Been the Magpies" and "His World Is My Shed" share a motif equally full of beauty and sinking dread. At the heart of the score is a circular melody that is tender and creepy in varying degrees, becoming increasingly claustrophobic on "Beautiful Hair," "Collatina Is Coming," and "The Dormitory Window." A few moments of pure horror pierce this delicate haze, whether its the inhuman vocalizations on "The Fifth Claw" or "Found Scalded, Found Drowned"s pulsing synths. Despite its homages, Berberian Sound Studio is unmistakably Broadcast. "The Equestrian Vortex" recalls the jazzy, psychedelic leanings of their early singles and The Noise Made by People, while "The Sacred Marriage" rivals Witch Cults in its trippy beauty. This score was the first new music Broadcast released after Keenans untimely death from pneumonia in 2011, and the pieces with her vocals -- especially the spine-tingling "Teresa, Lark of Ascension" -- are all the more poignant. Clever, eerie, and beautiful, Berberian Sound Studio is the perfect accompaniment to a film that examines the nature of fear and sounds part in it, and its wonderful to hear Cargill continue Broadcasts legacy with a project so tailored to their strengths. | ||