Bad Stream

Bad Stream

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Having grown up with and on the internet, Martin Steer (1986) has transformed its pull into a concept album that is just as immediate and intangible as the digital world. Bad Stream is guitars and machines vanishing in the spaces between Radiohead, The Notwist and Nine Inch Nails only to reemerge amidst Ambient, Noise, and Drone. Bad Stream, then, is his modus operandi – a soundtrack to the feelings of resignation, isolation, and cynicism within neoliberal cyberspace and to that strangely numbing comfort of bodies transmuting into zeros and ones in real time. “I look at my phone even when I play guitar,” says Martin Steer, “and that isn’t even entirely voluntary. The 2010s really changed my perception of how digital technologies and social media affect me as a musician. Through Bad Stream I want to make sense of this particular kind of anxiety, and to use sensory overstimulation as a way to develop an independent and progressive musical language.” The past seven years took Martin and his laptop and guitar from Berlin to Mexico and Nepal and, as a founding member of Frittenbude, into the German charts and to various festival stages. And yet, Bad Stream is a “Berlin album,” one that was recorded in a studio on the outskirts of Munich, with real drums and programmed beats, with shoegaze guitars, piano, smartphone synths, violins and field recordings from the darknet.

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