‘Temple ov BBV’ collab with Gnod, Eindhoven art-punk outfit RMFTM announce new LP ‘Subversive III’ & share mesmerising short-film for closing track.

Following their recent collab with Gnod under the Temple ov BBV pseudonym, Eindhoven art-punk collective RMFTM (fka Radar Men From The Moon) have announced the third and final instalment in their ‘Subversive’ album trilogy. ‘Subversive III: De Spelende Mens’ is officially released December 1st on Fuzz Club Records and ahead of its release the band are now sharing the first taste of the new album in the shape of an immersive short-film titled ‘Black Canvas, Dark Majesty’ – soundtracked by their droning twenty-minute album closer of the same name.

Talking of the film, RMFTM explain: “Video is such a wonderful artistic medium but as a result of the music industry fetishizing 3-minute videos, things have started to become very hasty and shallow. With this in mind we decided to take our album closer, which is a 20-minute piece called ‘Black Canvas, Dark Majesty’ and make a film for it. We worked with visual artist Merel Stolker and she did a beautiful performance with a very aesthetic quality. The video requires attention and patience, so we hope people take the time for it.”

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Whilst influenced by the groundbreaking sonic industrialism of Throbbing Gristle, Cabaret Voltaire and Coil and the kinetic rhythms of Neu!, Faust and Amon Duul II, the album also takes heavy cues from the work of Dutch historian/cultural theorist Johan Huizinga. They explain: “The album is named after a text by Huizina called ‘Homo Ludens/De Spelende Mens’, literally translated as ‘the playing man’. For Huizinga, the playing man lies at the base of all culture; ‘playfulness is what happens when people have satisfied their primary needs, thus forming the basis of all cultures’. There are conditions attached though – the act must be a free act, for it is art born out of pure imagination that manufactures whole new worlds.” This sentiment is vastly echoed in their creative process – for RMFTM, innovation and relentless experimentation is key.

Throughout the Subversive series, the band have sought to deconstruct and rebuild their creative process, pushing themselves to the limit with each and every release. ‘Subversive III: De Spelende Mens’ concludes the trilogy and see’s their industrial art-punk/krautrock take on it’s most incessant, angular and free-flowing form in a frenzy of metallic drones, thunderous feedback, stabs of analog synths, cracked loops and intense drum-machine percussion – driving the tracks with a throbbing kosmische rhythm that at times borders on industrial techno or even acid house.

On the Subversive trilogy, RMFTM explain: “The triptych of records is set out to explore new ideas. We wanted to crystallize our will and desires with this group by a subversion of our own context and boundaries. Subversion and transgression isn’t about breaking the rules, it’s about stepping outside the rules, outside the defined field. On ‘Subversive I’, we explored conceptual ideas on minimalism and repetition – it was about holding back and creating tension. ‘Subversive II: Splendor of the wicked’ is more copious, awake and a celebration of a distinct focus. And with ‘Subversive III: De Spelende Mens: we deliberately brought new equipment we weren’t comfortable with and spent a year learning new techniques, creating and shaping new pieces of work over countless sessions.”

RMFTM formed in Eindhoven in 2010 and is comprised of Glenn Peeters, Tony Lathouwers, Titus Verkuijlen and Bram van Zuijlen. Subversive III – produced by Bob de Wit (A Place To Bury Strangers/Gnod/White Hills) – follows extensive tours of Europe and a number of previous LPs including Subversive II (2016), Subversive I (2015), Strange Wave Galore (2014) and Echo Forever (2011). Prior to the Subversive trilogy RMFTM dealt mostly in celestial space-rock, droning shoegaze and neo-psych but as the years have gone on their sound has morphed into an entirely new beast, taking a much more experimental and electronic-driven approach to music.

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