too much electronic for me
I can see them performing most of this
turning the knobs and stuff
gotta be a blast
1.2 from me and a converted 2.1 from the pros at allmusic
from the album - Edward The Confessor
released Apr 3rd, 2012
Bio - from allmusic
London's multimedia electro-rock outfit Breton had their beginnings in the mid-2000s, when friends and
collaborators Roman Rappak and Adam Ainger began playing music and making films together, but the band formed
officially two years later, by which time Ian Patterson, Daniel McIlvenny, and Ryan McClarnon had joined the fold.
Rechristening an old bank Breton Labs and using it as their base of operations, Breton worked on their films and
the accompanying music, which drew enough of a response at screenings and performances that they decided to record
and release their songs. Breton released a trio of EPs, including one that had parts and instructions to make a
synthesizer and one on Hemlock Recordings, home also to James Blake. In addition, the band remixed songs by Maps &
Atlases, Temper Trap, Local Natives, and Tricky, and created videos for Penguin Prison and Flats. In mid-2011, the
group signed to Fat Cat Records and toured with Tom Vek, then headed to Iceland to record their debut album at
Sigur Rós' Sundlaugin Studio. The result, Other People's Problems, arrived in April 2012.
Album Review - from allmusic
Breton's debut album, Other People's Problems, often feels like the next step in dubstep's journey to ubiquity.
Where artists like SBTRKT and James Blake developed a more personal, song and vocals-oriented side to the sound,
groups like Nedry and Breton go a step further, incorporating a rock band feel into dubstep's moody template. Of
course, by the time of Other People's Problems' release, you-got-your-rock-in-my-electronic-music/you-got-your-
electronic-music-in-my-rock hybrids weren't exactly new, and Breton recall a more streamlined Klaxons, Metronomy,
or onetime tourmate Tom Vek as often as they do James Blake; frontman Roman Rappak's half-singing, half-talking
vocals are decidedly indie-sounding no matter how sleek their surroundings get. "The Commission" and "Edward the
Confessor" sound suitably dark and moody, and "Ghost Note"'s dense vocals and wavering synth lines are commanding.
However, Breton sound more natural when they let their rock side dominate, as on the brassy and vividly melodic
single "Interference" or "Jostle," where live drums and several breakdowns and buildups show they're more agile
than expected. When a glitchy, deconstructed piano morphs into full-out rock on "Wood and Plastic," it's another
surprise that shows Breton have potential to burn.
3. Edward the Confessor
4. 2 Years
5. Wood and Plastic
6. Governing Correctly
8. Ghost Note
11. The Commission