Music
Press
'What i like and is very different about BADFOOD is their creation of a unique immersive environment, of sound, colour and movement, which the musicians themselves are part of. They provide a full on experience for the audience member as they leave the stage behind (or is it us the audience who climb on stage with them?). They are able to create a 'hot' installation (hot = continually changing; participatory; where audience also become part of the spectacle) of disorientation and enchantment. I would love to see them be able to produce an event on a bigger scale...' - House of O'dwyer
'What i like and is very different about BADFOOD is their creation of a unique immersive environment, of sound, colour and movement, which the musicians themselves are part of. They provide a full on experience for the audience member as they leave the stage behind (or is it us the audience who climb on stage with them?). They are able to create a 'hot' installation (hot = continually changing; participatory; where audience also become part of the spectacle) of disorientation and enchantment. I would love to see them be able to produce an event on a bigger scale...' - House of O'dwyer
' Layers of sound and visuals intertwine to transform in a fold of spatio-temporal performance that is empathic to the audience and sensitive to the site-specific architecture of their happenings. Be it in performances where BADFOOD makes use of instruments, unusual tools and gadgets, light and colour, as well as costumes to balance the accelerationist impetus of their multi-sensory attack, or in the form of video art, such as the experimental, colourful assemblages of hypnotic imagery and religious iconography in ‘Buddha’ that submit to a transcendental order, spiralling down a somewhat psycho-magical remix of ritualistic footage and an iteration of psychedelic sound and colours–BADFOOD breaks down pre-conceived notions of artistic practice. Through the multi-media materials that BADFOOD instrumentalizes in their art they allow for a raw and powerful reinterpretation and rebirth of what is BADFOOD–one performance at a time. Chaos becomes an anchor for the audience that is completely immersed in the soundscapes and visual atmosphere, inherently carrying with it the potential of cathartic reinterpretation. BADFOOD is BADFOOD.' - Silent Veil (Berlin)
' Layers of sound and visuals intertwine to transform in a fold of spatio-temporal performance that is empathic to the audience and sensitive to the site-specific architecture of their happenings. Be it in performances where BADFOOD makes use of instruments, unusual tools and gadgets, light and colour, as well as costumes to balance the accelerationist impetus of their multi-sensory attack, or in the form of video art, such as the experimental, colourful assemblages of hypnotic imagery and religious iconography in ‘Buddha’ that submit to a transcendental order, spiralling down a somewhat psycho-magical remix of ritualistic footage and an iteration of psychedelic sound and colours–BADFOOD breaks down pre-conceived notions of artistic practice. Through the multi-media materials that BADFOOD instrumentalizes in their art they allow for a raw and powerful reinterpretation and rebirth of what is BADFOOD–one performance at a time. Chaos becomes an anchor for the audience that is completely immersed in the soundscapes and visual atmosphere, inherently carrying with it the potential of cathartic reinterpretation. BADFOOD is BADFOOD.' - Silent Veil (Berlin)
A space strewed by recycled materials from the street. A polychromatic and poly-written battlefield of projections and spray. There was no longer outside or inside, we were distorted by the sound and recital of three London apaches who remind us that punk and noise are still valid premises to state discomfort; and beauty.' - Periodico Diagonal (national press, Spain)
A space strewed by recycled materials from the street. A polychromatic and poly-written battlefield of projections and spray. There was no longer outside or inside, we were distorted by the sound and recital of three London apaches who remind us that punk and noise are still valid premises to state discomfort; and beauty.' - Periodico Diagonal (national press, Spain)
Discography
Still working on that hot first release.
Photos
Bio
Our performances are about immersing the audience in overwhelming visuals and sounds, submerging them in something they don't feel is labelled, readily packaged but yet stands alone, unexplained. Each member contributes sound, video, text, assemblage etc. in a collaborative effort towards a unique aesthetic character: One may use 'BADFOOD' as an adjective. Sound and footage is obtained, edited, re-inserted, repeat; text is boomed through surround sound speakers and screeched through megaphones like an authoritarian voice broadcast through a tannoy system. Instrumentation is invented and existing guitars and keyboards inventively modified; taking cues from post-industrial punk bands like Einsturzende Neubaten and Throbbing Gristle, groups like the Bow Gamalan and Laibach, seedy pop like Roxy Music and Shakira. The audience is implicated only under the terms that BADFOOD sets.
We aim to liberate and re-energise functioning spaces and resuscitate culturally abandoned spaces. Each performance takes its own course, created in direct engagement with a space and the objects used for that performance. We work with bringing back to life what is seemingly dead; using the waste from the mass-consumerist condition that we witness around us, reclaiming lost and forgotten spaces, recollecting objects and equipment and using them to create sounds and visuals in a way that was not originally intended giving them a new context and purpose.
Links
