The third album by San francisco psychedelic synth wave trio BRONZE
"Bronze is Brian D. Hock, Rob Spector and Miles Friction. This trio coalesced in 2006 when Hock returned to San Francisco from Berlin after splitting with his former band The Vanishing and moved into a warehouse with Spector, who was a long time collaborator in the S.F
. musik scene. Friction was enlisted shortly thereafter and the three began experimenting with synthesizers, samplers, vocals and heavy repetitive rhythm via live drums. After a european tour opening for Erase Errata and grip of singles they recorded their first album "Copper" released on New York's "RVNG Intl" in 2011. Numerous U.S
. and European tours followed and in 2014 they released their 2nd full length "World Arena" on Los Angeles label "Not Not Fun" The sound of "Bronze" is influenced by psychedelic synth musik, punk, wave, industrial and jazz, blended into a heavy cocktail of sonic witchery. 2015 will see also the release of a live album on John Dwyer's (Thee Oh Sees) Castleface Records.
300 copies / Mastered by Rude 66
"I thought that PUFF 7-inch Burka For Everybody released early this year packed the most tightly coiled firecracker I’d be finding in my pants, but Bronze might just have one-upped that single-serve brain-blast with their scene-poppin’ In Stone LP, dropping today on vinyl via BFE. It’s a punk-ish practice in barely controlled chaos, as many of the beats and synth smears seem ready to launch out of the speakers, and yet a steady sense of restraint keeps many of the best tracks in their rightful places even if it might have made sense to most to dress them up even more (for example, “The Angle,” “Under”) in the eyes of a more populist group. Bronze wear their synths on their sleeve, and tracks like the heady “Re-enactment” feel almost like an older Aa b-side combined with a choice Silver Apples cut. It’s propulsive, giving you a reason to leave the comfort of your record-room chair, and its best trick is its inborn sense of exploration, as if the aforementioned synths are feeling around for a lightswitch in the dark, each keystroke representing another random grope. “Inane” sounds more like the guy from Leisure Birds (Moon Glyph) locking himself in a helicopter, taking off, then slamming down on dozens of landing-/synth-patch pads. Then “Famous Faces” hits and it’s GAME OVER, not because it’s the last track in a stellar chain but because it breaks several of the rules established earlier on, applying spectacular layers of goodness Bronze had previously refrained from including.
Compelling, colossal, conundrum-causing; whatever word YOU decide best describes Bronze, make sure you climb the many crags of In Stone before you make your choice." Tiny Mix Tapes