Looking backwards to a musical era when the word ‘maverick’ meant more than dentally-blessed jet pilots taking your breath away, artists like Alex Harvey and Talking Heads were capable of inducing mass audience hyperventilation through the sheer sense of conviction in their art and the passionate lack of restraint they poured into every sweat-soaked chord. London-based Audioporn are mavericks for today.

Adrien Munden, Pete Coombs, Che Albrington and Simon Abbot first performed together at an open-air party in Sussex in the late 90’s. They were called Bloom. As their sound blossomed they became Desirable Genes. They made a single influenced by Kurt Weill. They toured Germany. They recorded five albums worth of nocturnal improvisations in a surge of strung out creativity. They discovered a sonic seed of apocalyptic genre-splicing aural architecture buried within themselves and planted it. They toured Germany. They returned to England and became Audioporn. It was the summer of 2002 and the seed had germinated. Audioporn started work on the material that became their debut album, ‘Tank’, and began airing it at their increasingly dynamic live shows.
‘Tank’ is the realisation of Audioporn’s disparate dreams. Frontman, guitarist and lyricist, Adrien Munden’s thought/story/operetta songs are fables for a generation lost in magazines and product placement solitaire. Like a messianic gatecrasher at a punk-poet summit, Munden could raise his glass to the manic energy of the punk explosion while stealing sips from the Beat generation’s peyote cocktails. Drummer, Che Albrington (his real revolutionary name) and subterranean bassist Pete Coombs (Deep Pete) are a dance/double-dub/epic soundscape of heretical rhythm; imagine Chic jamming with The Eels with Lee Perry producing.

To capture and augment the ferocious live Audioporn sound for the recording of ‘Tank’, the band decamped to Britannia Row studios with producer Brian Tench (chosen for his pristine engineering work on Kate Bush’s ‘Hounds Of Love’) and, using the same microphones and mixing consoles that illuminated The Dark Side Of The Moon, etched their vision on mirrored plastic.

‘Tank’, the album, is an intertwining series of songs outlining what everyone would like to do with their lives given half a chance. Audioporn give us both halves of that chance. Their music, humour and dramatic presentation can transport you into a world where you can cast off the identities forced upon you by passports and shirt sizes and digital ephemera: at the Edinburgh Festival Audioporn had ecstatic crowd members returning nightly to ensure they had captured what the band had freed in them. Audioporn’s sensational live melodrama is already earning rave reviews and rabid audience devotion.
The ‘Tank’, piloted by Adrien Munden and his cohorts, is a vehicle through which we can achieve emancipation. Audioporn have the keys.

R. Miller