The lineup: Josh Mitchell (vocals, guitar, samplers), Charlie Rotberg (drums, samplers), James Moruzzi (samplers, drums, vocals), Thomas Gunning (drums, samplers, vocals).   The background: What are Beaty Heart like? There's a clue in their name. Three of them play drums, that's how crucial rhythm is to what they do. But they're not some crazy Burundi-style troupe where the beat is all they've got to offer, which is why each of those three drummers brings something else to the table, ie vocals and samplers. Hence the myriad snippets of melody and noise that go to make Beaty Heart's often dazzling mosaics of sound.   They formed at Goldsmiths College, London in 2010 as a four-piece video-art and music collective (they do their own record sleeves and promos) and they've been called "London's answer to Animal Collective". You could equally call them a heavier, "math"-ier Vampire Weekend, or a "lite" These New Puritans – not as a criticism but as a way of complimenting their dense yet somehow weightless concoctions.   AC, TNP and VW – those are some pretty hefty comparisons being drawn right there, but that's what people have been saying about Beaty Heart. The four-piece call what they do "psychedelic drum pop" but are keen not to be pigeonholed as "tribal" for reasons best known to themselves. Here's what we think after a morning spent listening to their music. Cola is four minutes of drones, lush synths, percussive patter and animal yelps, echoey bits, fluttery bits, looped bits, subtle shifts and strange interventions. It has about as much to do with pop as it does exotica and ends with Spanish chatter. Tonton opens with children's laughter, after which sounds fly at you – busy-ness is their business. Lekka Freakout, an early demo, features radio fuzz and tremulous voices picked up as though from a far-off place – the sort of high, imperfect but keening singing that we recognise as AC-like.   There's a similar cracked quality to the vocals on Get the Gurls – note the Big Star spelling, in honour of Alex Chilton (and Andy Hummel). It doesn't sound much like September Gurls, or indeed anything from Radio City, though if King Tubby had a go at Morpha Too, it might sound this wonkily, dubbily infectious. The single, 2Good, sets out their stall with its big drums – and we mean In the Air Tonight big – and snatches of speech and glockenspiel before breaking out into the most scintillating Afropop.   It's heady, joyous stuff – apparently the BH boys play "wild house parties" with "an emphasis on audience participation". "A Beaty Heart gig," they say, "can be a spiritual moment." They go on to reminisce about one such show where they handed out drums to the crowd, who proceeded to play them for the next hour, "until the police turned up", although it's not clear whether the rozzers were called because of the racket or because of the swizz of charging decent wedge for a concert then getting the audience to do all the hard graft.
  The lineup: Josh Mitchell (vocals, guitar, samplers), Charlie Rotberg (drums, samplers), James Moruzzi (samplers, drums, vocals), Thomas Gunning (drums, samplers, vocals).   The background: What are Beaty Heart like? There's a clue in their name. Three of them play drums, that's how crucial rhythm is to what they do. But they're not some crazy Burundi-style troupe where the beat is all they've got to offer, which is why each of those three drummers brings something else to the table, ie vocals and samplers. Hence the myriad snippets of melody and noise that go to make Beaty Heart's often dazzling mosaics of sound.   They formed at Goldsmiths College, London in 2010 as a four-piece video-art and music collective (they do their own record sleeves and promos) and they've been called "London's answer to Animal Collective". You could equally call them a heavier, "math"-ier Vampire Weekend, or a "lite" These New Puritans – not as a criticism but as a way of complimenting their dense yet somehow weightless concoctions.   AC, TNP and VW – those are some pretty hefty comparisons being drawn right there, but that's what people have been saying about Beaty Heart. The four-piece call what they do "psychedelic drum pop" but are keen not to be pigeonholed as "tribal" for reasons best known to themselves. Here's what we think after a morning spent listening to their music. Cola is four minutes of drones, lush synths, percussive patter and animal yelps, echoey bits, fluttery bits, looped bits, subtle shifts and strange interventions. It has about as much to do with pop as it does exotica and ends with Spanish chatter. Tonton opens with children's laughter, after which sounds fly at you – busy-ness is their business. Lekka Freakout, an early demo, features radio fuzz and tremulous voices picked up as though from a far-off place – the sort of high, imperfect but keening singing that we recognise as AC-like.   There's a similar cracked quality to the vocals on Get the Gurls – note the Big Star spelling, in honour of Alex Chilton (and Andy Hummel). It doesn't sound much like September Gurls, or indeed anything from Radio City, though if King Tubby had a go at Morpha Too, it might sound this wonkily, dubbily infectious. The single, 2Good, sets out their stall with its big drums – and we mean In the Air Tonight big – and snatches of speech and glockenspiel before breaking out into the most scintillating Afropop.   It's heady, joyous stuff – apparently the BH boys play "wild house parties" with "an emphasis on audience participation". "A Beaty Heart gig," they say, "can be a spiritual moment." They go on to reminisce about one such show where they handed out drums to the crowd, who proceeded to play them for the next hour, "until the police turned up", although it's not clear whether the rozzers were called because of the racket or because of the swizz of charging decent wedge for a concert then getting the audience to do all the hard graft.
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Beaty Heart
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