Busy saving the city from the brick wall arm crossing and the casual head nods, Brooklyn's own Body Language has risen from the DIY venue basements armed with the kinetic dynamite you would expect from the name. Their original music was born from weekly dance party remixes crafted by Grant Wheeler and Matt Young, and graced by the soul stylings of Ms. Angelica Bess. Their efforts, which illustrated their arrival into Brooklyn, were delivered in a five track EP called "Speaks".

Since the EP release, Body Language has been touring with Zero 7, Sia and burning holes in New York City dance floors appearing with the likes of Passion Pit, Little Boots, La Roux, School of Seven Bells, Theophilus London and Jimmy Edgar. This beat-driven crusade continued with an highly anticipated appearance at SXSW 2010. Listeners should also expect some wonderful contributions from the trio with the hit, "Work this City", appearing on Ghostly International's Nocturnal Suite, a free four-part 'Influences' DJ Set, as well as a "Speaks" Remix Compilation, featuring the likes of Toro y Moi, Yes Giantess and Shuttle.

Originally coaxed to Brooklyn by fellow party-throwers, CassetteNYC and Percussionlab, Body Language quickly found a welcome soapbox from which they could yell loud and clear. Armed with synths, vocoder, glockenspiel, percussion, and three graceful voices, Body Language found themselves in demand at local events and parties. That demand extended beyond their own entity as a band, and they appeared as a live back up to Theophilus London dressed as 'the Lovers'. Body Language also served as production collaborators with Passion Pit for the inception of their debut LP, Manners. Body Language cut their teeth in the remix department, appearing on Passion Pit's "Chunk of Change" EP with a shimmering rendition of Sleepyhead (Landau Wake Up Mix) and Machinedrum's "Late Night Operation" EP featuring Theophilus London. Seeking to up the ante on their performances, the trio joined forces with Mickey Factz/T. London backing drummer, Ian Chang, during the turn of last year. The resulting quartet made what seemed already a locomotive electronic outfit into a sonic freight train of a crossover indie act.

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Free Blood in a concrete room with no windows in the sweltering summer of 2003. The group is based in Brooklyn, New York.

The concept was simple: A soundtrack for parties gone awry.

Music to fuel awkward sexual dalliances, desperate yelled misunderstandings on the dance floor, toilets over-flowing with the night's collective regurgitation, lonesome midnight ramblings, hair-brained (possibly illegal) parlour games, stereo components fried by heat and moisture, backyard furniture bonfires, power outages, mass hallucination, etc.

The instrumentation was kept to a minimum intentionally (two microphones, bass guitar and mechanical drums) so that the group could fit into any cramped corner, with an easy getaway in case the authorities (or audience, even) took issue with the noise. Free Blood began playing smaller venues and house parties around the Brooklyn and Manhattan boroughs, usually lugging their own PA to the gig so that the ear-splitting volume they were accustomed to in the practice space could be replicated. These performances were designed to leave the audience deaf, dumb and blind....and perhaps with smiles on their faces.

Since their inception they have shared the stage (and floor) with a variety of groups (Melt Banana, Suicide, Jamie Lidell, TV On The Radio), only leaving the State of New York once for a brief four-day tour in Japan. The first three years saw Free Blood as strictly a live phenomenon whose appearances were erratic and ridden with chaos. The group entered the studio to record a trio of songs in the Fall of 2005. The studio was owned and operated by a notorious production duo known as the Brothers (Josh Ryan and Eric Emm), and built into a closet in their Greenpoint apartment.

No one knew what Free Blood Music was supposed to sound like outside of the sweat-boxes they were accustomed to performing in, but they set about learning how to make their noise in a control environment. Still digesting the music they grew up on (Midnight Star, Squeeze, Chaka Khan, Stevie Nicks, Level 42, Cameo, and oldies radio) strange inspirations began emanating in great echoing belches. With the Brothers, Free Blood formulated a delicate symbiosis of electronic/mechanical and acoustic/organic elements in order to create a pop song for people who hate pop songs. A year later, they had two and half such pop songs finished (Quick & Painful and Never Hear Surf Music Again). With a new efficiency, the group set out to record two additional singles in under four months. No small feat for a band built on a bedrock of experimental lava. Once again teaming with the Brothers, Free Blood succeeded in producing four more 3 and a half minute monsters.

This music is finally seeing the light of day, thanks to the efforts of Adventures Close To Home (in the UK and Europe) and Rong Music (in the US and Japan/Australia). With actual vinyl finally available for play in living rooms across the globe, Free Blood hopes to instigate a new, home-grown party that will totally get you grounded when your parents come home.

www.freebloodmusic.com

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