Fuck Buttons

Fuck Buttons
Fuck Buttons members Andrew Hung (left) and Benjamin John Power (right) in 2007
Background information
Origin	Bristol, England, United Kingdom
Genres	Electronic, neo-psychedelia, drone, post-rock, noise, experimental, minimal techno
Years active	2004–present
Labels	ATP Recordings
Associated acts	Blanck Mass, Dawn Hunger
Website	fckbttns.tumblr.com
Members	Andrew Hung Benjamin John Power

Fuck Buttons are an electronic duo formed in Bristol in 2004 by Andrew Hung and Benjamin John Power. Their music has been described as aggressive, booming noise that is both distinctly recognizable and original.

Hung and Power grew up in Worcester. Hung was influenced by Aphex Twin, while Power was a fan of Mogwai. They developed a friendship in 2004 while attending art school in Bristol, and began working together, initially to create the soundtrack to a film made by Hung. Immediately after forming, they played live whenever possible, and soon gathered a cult following. The duo use a variety of instruments including Casiotone keyboards and children's toys such as a Fisher-Price karaoke machine. Their name was chosen to sound "playful and abrasive".

Time Out magazine described the band's live sound as an "adrenaline pumping, ear purging slab of towering, pristine noise". The duo signed to All Tomorrow's Parties-affiliated ATP Recordings in 2007, and released a limited-edition 7" single named "Bright Tomorrow", which received complimentary reviews from such sources as Drowned in Sound, Pitchfork (who described it as "something like the sun rising over the ocean... then going supernova"), Mojo (it became their No. 1 Mojo Playlist Single for that month) and Stereogum.

Combined with an upsurge in reviews of their live performances at the Supersonic, Truck and Portishead-curated ATP festivals in the second half of 2007, this attention resulted in Fuck Buttons being included in many end of year newspaper, magazine and online articles predicting them as a 'Hot Tip' for 2008. These included New-Noise, who said that "rarely have two men sounded so much like the end of the world" and British newspaper The Observer, which called their sound "a joyous racket of swirling atmospherics and percussive gunfire" in an article highlighting them in a new wave of intelligent, literate British pop music.