POST BRUTALISM_cover_2019_jakubkonc

Release: tomorrow | Jan 25.

With their collaborative Postbrutalism EP, Bad Stream and ˆL_ present their transcontinental vision of a sound that harks back to Techno’s origins but has its eyes firmly locked on a new and exciting future.

Having released his Love Is Hell LP and the The Outsider EP on ANTIME in 2014 and 2016 respectively, the Postbrutalism EP is Luis Fernando’s third release on the German label. The foundation for the six tracks was laid during a short stay in Berlin 2018, when Fernando and ANTIME founder Martin Steer aka Bad Stream would enter the latter’s studio together for extensive jam sessions with noises through guitar pedals & amps, distorted drum machines and analogue synthesizers, which were later refined and mixed by Fernando in his native Brazil.

Just as the EP’s title is a play on the architectural movement of brutalism, the music of these six tracks is built upon a firm believe in material qualities over the very material itself. By both paying tribute to Techno as a genre but expanding its vocabulary at the same time, (adding shoegaze, industrial and cyber-punk elements) Fernando and Steer take their own musical endeavours to another level altogether.

From the uncanny subtlety of the droney opener »Why Planet« to the feverish 303 House-derivate »Ivanka Lost In Bangladesh« and the massive, Acid-drenched near-Gabber sonic assault that is »Inner Pyongyang«, Postbrutalism creates new meaning in old forms.


1 Why Planet
2 Postbrutalism
3 Ivanka lost in Bangladesh
4 Bot Blood
5 Inner Pyongyang

Music by Martin Steer & Luis Fernando
recorded in Berlin & Brasilia (2018)
mastered by Freddy Knop x Listeners Mastering
artwork by Jakub Končir
inspirations Jakub Končir
video idea Johann Steer
thnx Kristoffer Patrick Cornils
thnx Matthias Pfeiffer

Bad Stream Out Now

Bad_Stream_Mix_Digital_Cover 2




Bad Stream – Sex Cries


„Sex Cries“ is the second single from the upcoming debut album „Bad Stream“ by ANTIME Records founder Martin Steer from Berlin. The video for „Sex Cries“ is a portrayal of insomnia in the age of social disconnect. It pits the drug and technology-infused upper-and-downer lifestyle of late capitalism against the critical mythology of the Bad Stream concept album in kinetic freeze frames of excess and loneliness. The music, created in dozens of recording sessions over the past four years, blends rock structures with progressive sound design of noisedrums, distorted analog synths, experimental guitar textures and Martin Steers distinctive vocal melodies, and is another „Post Industrial“ monolith of Bad Stream’s vision of contemporary and hybrid Pop music. „Sex Cries“ will be released digitally on 16.03.2018 with a radio edit as well as new interpretations and remixes by artists from the ANTIME Records environment by Daniela La Luz, Krink Emmanuelle 5, Oberst & Buchner, S S S S and many more.


01. Sex Cries (Radio-Edit)

02. Sex Cries  (Emmanuelle 5 (LTNO) Radio Remix)

03. Sex Cries (Oberst & Buchner Remix)

04. Sex Cries (Daniela la Luz Nights like this Remix)

05. Sex Cries (S S S S Remix)

06. Sex Cries (Lars Hemmerling Remix)

07. Sex Cries (Shannoncut Remix)

08. Sex Cries (Krink Remix)

09. Sex Cries (Ken Hayakawa Remix)

10. Sex Cries (Daniela la Luz Days like this Remix)

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Bad Stream (Antime#020)

Martin Steer_Presse2018 by Paul Aidan Perry 20


In French, l’appel du vide connotes the siren song beckoning you to throw yourself into the void, down the abyss – simply because there is no worse idea. But what if what’s calling to you so irresistibly is not nothingness but abundance? It is, indeed, the ever-present backdrop to our lives: information both redundant and relevant, breaking news, fake news, late capitalist memes, cat content, dystopian tech documentaries, iconic music clips, the White House live stream, endless playlists, sponsored stories, unanswered emails, selfies taken before getting up and then after, of expanding algorithms and monologues. And all of it only serves to ask one question: are you listening?

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. It marks Martin’s attempt to release his own history, alienation and loneliness into the chaos of the digital world and to retain their substance in doing so. Needless to say, he will have to fail in order to succeed. Bad Stream, then, is his modus operandi – a soundtrack to the feelings of resignation, isolation, and cynicism within the neoliberal cyberspace and to that strangely numbing comfort of bodies transmuting into zeros and ones in real time.


„Boredom and panic, this life is manic“


“I look at my phone even while I’m playing 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.”

Martin has spent half his life writing hybrid songs; in doing so, he transcends the demarcation lines between rock and electronica, the pre-internet era and our world today, drawing on and transforming his experiences. In Bad Stream, everything coalesces. 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 true “Berlin album” out of Friedrichshain, Neukölln, and Kreuzberg, one that was recorded in a studio on the outskirts of Munich with real drums by Spúr and programmed beats, with shoegaze guitars, piano, smartphone synths, violins and field recordings found on the darknet.

It’s not the first time Martin does “his own thing”: after Pandoras.Box, he founded ANTIME in 2011 as a label and DIY-network for electronic music with more than 20 releases and dozens of label nights to its name. Here as much as anywhere in Martin’s work, opposites attract, transitions blur, and inspiration proliferates.

He has read books upon books, copied citations out from the internet, logged his own digital life and turned it into a psychogram. “The five-year process of creating this album was a little like archeology,” he says. “I spent so long looking for some kind of balance. I was constantly in between going forward too fast or pausing to think, between boredom and panic.” That’s why Bad Stream works as a name. What holds it all together is this experimental guitar sound, the analogue Tempest drum synth and his voice, whose hopeless timbre conveys reflections on technology, systems, the future, drugs, people, and his own place:


“My sense of future, down on this planet. Is it the real thing – I hate my feeling.“


Bad Stream is an album about what it means to dive into bot likes and unfollows, to drown in the data garbage and the broken links so ubiquitous in the Capitalocene, and to come back to the surface with your battery running on empty and unable to tell what was a dream and whether we haven’t long relinquished control. “The Internet has lost its innocence,” says Martin, before going back in head first. “These days I try not to waste too much time on it.”

The twelve songs of his debut album – titled Already Dark, Sex Cries, Megafauna and Nervous Lovefor example – encompass complex layers and metaphormic arrangements. Just like the artistic music videos accompanying them, they speak of man’s profound alienation amid his omnipresent screens.

The first single is the album’s central piece: Already Dark is distinctly post-industrial in composition, commenting in its seven minutes on our accelerating world of face recognition, big data, species extinction, mind hacks and human uploads. It is a psycho collage about a world, where everything seems to be overheated, simulated and programmed – digital capitalism, polar icecaps, hypertransparent individuals dazed by systems and total alienation by artificial intelligence. Already Dark is an anti-utopian hymn for a posthuman transition into digital slavery. The mechanical beat pulsates and marches, acoustic and synthetic sounds melt into each other and shape this powerful but vulnerable construct which swells and swells – just till everything implodes in the peaks of a (post)brutal noise nirvana. In it´s eclectic and transformative artistic language Already Dark orchestrates the key-coordinates of Bad Streams vision of future-facing songwriting and progressive sound design.


„Skip to an ending – Are you pretending? Yes you do. Life is not streaming – Can i delete it? Forevermore…“


Martin Steer isn’t alone in this. He has friends who share his thoughts and sentiments, who feature on the album and who speak many languages, who scanned him for the album’s 3D artwork and who programmed complex music videos and software for his live shows. They make sure that no one escapes this bad stream, keeping the project forever going forward, never at a standstill. “I want it to be like the internet – drawing people in and not letting them out,” says Martin. Communication has been interrupted, but it is still all that we have.


There is a pull, a draw, and it says: are you listening?


Bad Stream – ANTIME#020 – 2xLP/CD/Digital

Release: April 6th 2018

„Already Dark“ @ Bandcamp