Wave Machines
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Wave Machines

Liverpool, England, United Kingdom | INDIE

Liverpool, England, United Kingdom | INDIE
Band Alternative Pop


This band has not uploaded any videos
This band has not uploaded any videos



"Wave Machines - 'Punk Spirit' 7/10 Review (March '09)"

For your sake, my sake and their sake, let's not confuse Wave Machines with Wavves. In fact, whereas Wavves deals with fuck-all haircuts, scumbag thrift-store duds, and static that revels in its own fizz, Wave Machines are on the flip-- they wear clothes that look clean, their songs sound considered, and they need to think a bit before yelling. (Wave Machines are from Liverpool, btw.) Though the song is called "Punk Spirit", it's a trick-- don't worry, we're all in on it. "Where's my punk spirit when I need it?" goes the hook. It's a should-coulda anthem for post-man's-man drinking holes world round. Flight of the Conchords but less ha-ha-dumb; the Hold Steady without the myth-- Wave Machines are still taken with their own story.

The tale sounds good thus far. With a debut LP due in June, the scattered tracks drop Hot Chip hints, Beta Band bite, and even some Bee Gees falsetto. It's fun, but not too fun. It sticks. They're still looking for a way out-- see "I Go I Go I Go" and "The Greatest Escape We Ever Made". They're trying to leave another song title behind: "Dead Houses". And while "Punk Spirit" may focus on absence, by the end that hook defies itself. "Where's my punk spirit when I need it?!" it goes, again, with more fervor. These guys may be bored, but they're about to do something about it.

- Ryan Dombal - - Pitchfork

"Wave Machines - 8/10 Album Review (June 2009)"

'Men In Masks With Subtle Pop Suss'.

They may not be as easy on the eye as La Roux, but when it comes to knocking out sublime pop, Wave Machines are up there with 2009's finest. Merseyside's latest masked music-makers have created
a gorgeous grower of a debut, a veritable Aladdin's cave of sounds and subject matter. Songs are inspired by everything from glow-in-the-dark ghost calendars to Cyndi Lauper and, um, overplayed Queen anthems. But it's precisely this combination of clever, unconventional lyrics and shimmering synths, falsetto vocals and disco bass that makes this album so alluring.

Wave Machines could look like mutant zombie spawn and NME would still go weak at the knees for them.

- Camilla Pia - - NME

"Live Review - 9/10 at Hoxton (Sept 2009)"

Are Wave Machines the greatest band to come out of Liverpool since The La's? If the mad enthusiasm with which the sea of fans present tonight lapped up their exquisitely idiosyncratic brand of electro-pop is anything to judge by I don't think I would be alone in responding to this question with a resounding 'yes'.

Their recently released album, Wave If You're Really There, is a perfectly formed musical gem. Luxurious hooks, crisp beats, bouncy basslines and lyrics that are both refreshingly open and cuttingly clever, all made for a debut that was impossible to take out of the CD player. Yet, in a year when desperate second albums and precious pop princesses have been hogging the limelight, Wave Machines were forced to ply their trade along the wayside while your Auntie Flos and Jack Penates made off into the sunset with the big bucks clenched in their fists, positive reviews coming out their arses.

Not that the band themselves are bitter: Carl, the sweet natured slap-head on synth and guitar duty, is a firm believer in the long discredited long tail theory and off stage most of the band seem more interested in playing the fool than playing Glastonbury - which gives them an instant advantage over the aforementioned sickening success stories. Wave Machines are about playing the music and having a good time, all the rest is just flotsam and jetsam.

Taking to the stage in their trademark creep-o cardboard masks, they look more like a bunch of Thunderbirds turned horribly, horribly wrong than anything else. Opening with 'You Say The Stupidest Things', a lolloping hymn to hedonism ("the day is wasted if you're not wasted") which pretty much sums up the do nuthin' know nuthin' take everythin' ethos of our generation, the degree to which they've sharpened up their act in the last year is instantly apparent. This gig may be to celebrate the release of their new single, 'Punk Spirit', but every number is down so tight it almost hurts.

In spite of the unspeakably awful sound system in the Hoxton Bag, the frenetic intensity of the music has most of the audience dancing like tweaked out speed freaks, that special indie-Sindy twitch step that desperately wants to be Ian Curtis but comes off more electrode-up-your-anus. Tracks like 'I Go I Go I Go' and the truly sublime 'The Greatest Escape We Ever Made' take on a raw, desperate, punk-y urgency while the droopy-eyed disco of 'Keep The Lights On' allows the band to give rise to the proggy instincts that swirl beneath the surface of most of their work. Closing with a new track called 'Water Dries On Her Back', a high-pitched high-tempo number (think Tiny Tim meets Late of the Pier) they're nothing if not diverse. This electrifying show just goes to show that the tide is still rising for Wave Machines.

- Charlie Gilmour -
- Drowned In Sound

"'Punk Spirit' Review (July 2009)"

It may whisper. 'You can fucking die', but Punk Spirit is a slab of tender and life-affirming brilliance from a band whose blend of ideas, playful art-disco and penchant for theatrical mystique has made them the most devilishly alluring thing to come out of Liverpool in a long, long time.

- Stephen Kelly -
- Music Week

"Artrocker Recommends - Wave Machines (Album Review, Aug 2009)"

Like the finest pop alchemists, beavering away in their fuzzy lairs until mum shouts it's time for tea, the Wave Machines have a bespoke, home-made bent to their recordings. This is not to say that it's in any way lo-fi or rough around the edges (in fact, the production and instrumental complexities are very impressive), but simply that it feels warm, comforting and distinctly from these isles.

'Carry Me Back To My Home' burbles with the motorik intent of Saloon, but has the sophistication, crescendos and climaxes of Neil Hannon's most uplifting work. The title track, however, proves that they're by no means tempered by the limits of imagination, turning a Hot Chip-esque funk workout into a deft, lush and encompassing orchestral epic, resplendent with swelling strings and brimming with Carl Brown's soul-searching lyrics.

In short, Wave Machines prove with this excellent debut that they're as capable of having fun as they are of engendering sympathy. Consummate emotional songwriters, here is a band with the tools and sense to tickle the most embryonic musical ideas into kicking, crying life.

- Daniel Ross - - Artrocker Magazine

"Other Select Blogs"

BIG STEREO on 'Keep The Lights On' (April 2009)

Wave Machines' 'Keep The Lights On' is the perfect track for right this second. Lofi nu-disco that sounds pulled straight from midnight radio to your headphones. This track could be the love child of Hot Chip and Hail Social, but it's done better. Love totes. Guarantee you'll be playing it on repeat until your sick of it, but no worries... Wave Machines' debut album will be ...full of new songs to play on repeat.

- Travis -

NICKY DIGITAL on Debut album 'Wave If You're Really There' (Aug 2009)

'Where's my punk spirit / when I need it?' asks Wave Machines vocalist Tim Bruzon in the group's anthemic single, 'Punk Spirit'. Despite the song title, and despite the band's British pedigree, there are no snarling vocals or thrashing guitars. It's a straight-forward, beautiful tune stripped down to a soft guitar-riff and emotional melody. The real edge comes from the militaristic drumbeat that leads the track out.

Wave Machines is far from punk when (it) comes to defining the band's debut album, 'Wave If You're Really There'. Most reviewers and music lovers categorize them as 'electro-pop', which is accurate, given the fusion of classical instrumentation and programmed sounds. For every track like the heartfelt 'Punk Spirit', which is rooted in guitar and drums, there are songs like 'Keep The Lights On' or 'I Go I Go I Go' with digital flavor, dance-ready synths and disco-esque falsetto vocals.

Overall, Wave If You're Really There is an excellent, eclectic album that keeps things varied and interesting, track-by-track.

- Cornelia Rowe -

COOL HUNTING on 'Wave If You're Really There' (May 2009)

Influenced by drinks, drugs and gravity, the foursome behind Brit band Wave Machines pump out eclectropop hits packed with psychedelic undertones and catchy beats that make you feel like you're floating on air.

But their debut album, Wave If You're Really There, isn't only full of frolicsome tunes. Songs like "Punk Spirit" and "You Say The Stupidest Things" slow it down, showing off their rock 'n' roll attitude that keeps to the background of the more dance-inspiring tracks like "I Go I Go I Go" and "Keep The Lights On."

...the album is a perfect match for the summer weather.

- Karen Day - - Big Stereo, Nicky Digital, Cool Hunting


June 2008: First release of 'I Go I Go I Go' on Limited Edition 7'' vinyl, on Chess Club Records;

September 2008: 'The Greatest Escape We Ever Made', released on LE 7'' vinyl by Chess Club Records;

April 2009: 'Keep The Lights On' - Single released on LE 7'' vinyl (Released with Neapolitan Recordings);

June 2009: 'I Go I Go I Go' - Single released on 7'' vinyl and download (Neapolitan);

June 2009: 'Wave If You're Really There' - Debut album released on Deluxe CD, download and exclusive download (Neapolitan);

August 2009: 'Punk Spirit' - single released as download and LE 7'' vinyl (Neapolitan).



Wave Machines are a mercurial Merseyside four piece who create instinctive art-pop. Since forming in 2006, they have been interviewed and played by BBC Radio 1's Zane Lowe, Nick Grimshaw, Huw Stephens, Rob Da Bank, and Annie Mac and have toured all through the major UK festivals, including Glastonbury, Bestival as well playing abroad in USA, Spain, France, Norway, Holland, Belgium, Ireland and Dubai. They recently became the favourites of French tastemakers 'Collette' and returned in November to the Olympia, Paris to play alongside Bat For Lashes and Bad Lieutenant at the Les Inrocks festival.

The band:

The band’s origins can be traced back to the 4 members’ love for similar bands; Beta Band, Devo, The Notwist, Autechre were just some among many others. It was the mutual appreciation for a plethora of music, and the determination to create a sound that had an emergent property borne out of their favourite artists, that led Tim and Carl to lay the groundwork for the band.

Carl Brown: ‘Tim and myself had been in bands before for a while, but the ideas we were getting when we started to play between the two of us made us realise that there was more to performing than just jumping up on a stage, playing and leaving. Where’s the passion in that? We wanted to deliver music to people that made them sit up and take notice, music that people could dance to, music that made people take stock.’

Tim: ‘That’s when we got James (Walsh) involved – we had known him for ages, and we wanted him to be a part of it – even if it meant stopping him from going to move to the US!’
Carl: ‘Vidar (Norheim) was a different story – we saw him completely by accident drumming in a big-band, and the way he hit those drums was so effortless, so military-esque (Vidar used to play the drums whilst performing military service in Norway), we knew we had to pinch him and get him to play for us!’

Wave Machines saw 2007 as the year to get on the road with the material they had accumulated from the previous months. With over 70 gigs in that year, they quickly realised what worked in the band. With more gigs the following year, and interest from Radio 1 and XFM, the band started to get their music to even more potential fans.

2008 also the Wave Machines put out their first single, entitled ‘I Go I Go I Go’, on limited edition vinyl with the inimitable Chess Club Records, a singles label who discovered the talent of Mumford and Sons, Chief and Post War Years;

James Walsh: ‘Putting out ‘I Go I Go I Go’ on Chess Club was really special for us because it was really the first time that we had produced something that people could go back to time and time again. Along with performing, it really made us feel proud of what we had achieved.’

The Autumn of 2008 saw another release Chess Club – ‘The Greatest Escape We Ever Made’ was another sold out limited edition, and led to the band promote the single in the Elgar Rooms of the Royal Albert Hall in London.

Vidar Norheim: ‘That night was fantastic for us as we were able to play our music in the venue that had housed so much incredible music from so many musical periods. I guess the effect of using this regal venue to play our comparatively newborn music was really uplifting, and in a sense it echoed our desires to cast aside the status quo that can be attributed to so many bands.’

2009 saw the band take their performances abroad, with gigs in Paris and Barcelona, the latter of which they supported Ladyhawke. There was one trip however that stood out for the band – a trip that is still the highlight of their time as Wave Machines – their trip to Austin for SXSW.

Tim: ‘SXSW was nothing like any of us had experienced before – we had played a couple of relatively small UK festivals the year before, but we couldn’t quite believe the sheer size of SXSW! Everywhere we went, music was pouring from every available bar, street and restaurant for 4 solid nights. It wasn’t just the musical element of it either; everyone we met showed so much interest, and were so attentive to what we spoke about. We got to see a lot of Austin in those 4 days, thanks in no small part to the family we stayed with. When we weren’t plying our trade and speaking to label representatives, we were being shown the best places to eat and the best places to unwind – both very important to us! I think the fact that we had funded the trip entirely by ourselves had initially caused us some concern in case we didn’t come away with the experience we had hoped for, yet the music we listened to, the places we played and the people we met led us to realise that this was one of the best investments we had made as Wave Machines.’

Back in the UK, the band started to self-produce their debut record, and with the help of producer Lexxx (who produced Foals’ debut album), were able to release the record in June with Neapolitan Records, a label set up for the purpose of getting Wave Machines out to record stores across the co