Holy F**k: Canada's Premier Exponents of Profane Instrumentalism

With a name whose exclamatory liturgical profanity can't quite by typed on a website as wholesome as this, Holy F**k would seemingly have hemmed themselves into a cult following, at best. Yet, even if conservative Canadian political parties have sited their chosen handle as all that's wrong with rock-n-roll, this juvenile, naughty-naughty band-name has hardly dented their popularity.

Holy F**k play an effects-driven, ever-evolving, dancefloor-friendly version of post-rock; a kind of Trans-Am-meets-Battles affair in which rhythms are amped-up and overdriven. Having toured with acts ranging from Mouse On Mars, to M.I.A., Cornelius, !!!, and Wolf Parade, they've proven their sound crosses over boundaries.

I recently spoke to Graham Walsh, one of the two Torontonians at the core of Holy F**k's mutating lineup. He explained, amongst other things, why the band settled upon such a censorial moniker.