The Bohman Brothers are the creators of a unique and impure experimental music. Traces of Fluxus japery, musique concrete, sound poetry and free improvisation can be detected, yet ultimately the whole is greater and more arcane than the sum of it’s parts. As a performing duo Adam and Jonathan Bohman have been operative since 1996 (Adam Bohman is also a member of Morphogenesis and The London Improvisors Orchestra).Their sound art oscillates between states of the absurd and (sonically) grotesque to highly articulate explorations of extra-musical sound.
Their most recent release is ‘Back on the Streets’:
Adam and Jonathan Bohman have returned with their long-awaited second album, Back on the Streets ten years after their debut, A Twist for All Pockets, which appeared on the Italian label, Rossbin. The new album will be released on Peripheral Conserve, the label run by the filmmaker, Peter Strickland, whose second film, Berberian Sound Studio features a fleeting glimpse of the brothers.
Unlike their first album, the majority of Back on the Streets is spoken word, if one can call it that. Eighteen confounding tracks sift through Oxfam paperbacks, unwanted discount leaflets, menus and wine lists. All the textual flotsam that the majority of us ignore or discard is scavenged to delirious effect. Instrumental tracks take a back seat whilst the meta-narration from a multitude of sources illuminates the album. The CD features an original portrait of the Bohmans in space by Slovak painter, Milan Kováč, and also features an introduction by the Slovak philosopher, Jozef Cseres. The album is produced by Panos Ghikas from The Chap.
When the Peripheral Conserve label released the Bohmans’ toolbox mantra, Purely Practical in 2002, the Wire magazine’s Byron Coley praised the single as ‘one of the best sound poetry records since Henri Chopin stopped cutting them’.
Since 2002, Adam and Jonathan have remained active on the live circuit and have contributed tracks to various compilations. Back on the Streets is a culmination of the last decade’s experiments, wordplay and junk mail; an askew, yet instantly familiar and highly evocative vision of British life. The Bohmans have the uncanny ability to make one appreciate the inherent absurdity in any nondescript pamphlet that might slip through a letterbox.
Back on the Streets was 22 in the top 50 albums of 2012 according to the WIRE magazine.