Dammit I'm Mad is a Pop / Avantgarde / Progressive / Indie - duo from Sweden. The band consists of Christian Augustin, drummer originating from the Norrland Hardcore-scene (Totalt Jävla Mörker & Cult of Luna), and Anton Toorell, a steady member of the Scandinavian experimental scene (Invader Ace & Receptacles).
Back in 2008 they were studying together at the Royal College of Music in Stockholm, and therefore being totally broke, they couldn’t afford to travel home on school break. Stranded in the Stockholm suburb Bredäng they killed the time writing music, and Dammit I’m Mad was born. After releasing a few demo songs on Myspace they started getting request from bookers all over Scandinavia. Although the music wasn’t created with live performances in mind, they had to make it work.
Dammit I’m Mad compressed all the complicated melodies into one explosive live performance. They designed masks and started using interactive video projections, while attempting to play as many instruments at the same time as physically possible. Doing all this with masks on didn’t make things easier performing, but gave the audience an extraordinary experience.
Their music was described sounding as if Lightning Bolt was playing deerhoof-covers.
Experimental music pioneer Rafael Toral said “It’s humour but it’s not funny” - which is pretty spot on; while their music is complex at times, it never becomes pretentious.
During ten years they’ve been fine-tuning and polishing their tracks to perfection, and after a 10 day recording session at Palazzo Stabile, Italy, the material is ready to see the light of day in the form of a full-length 12” musical journey that traverses the full emotional spectrum; from the playfulness of “Hoofprints”, japanese robot voices mixed with mad flute themes on “Flute Mayhem” to blasting punk and lofi-synths on “Dammit I’m Dad”. From the gritty guitars of “Pink Future” to the more dance floor friendly “1000”.
Dammit I’m Mad’s self-titled debut album sonically explores many artistic expressions. It incorporates the struggle between retro-futuristic sounds and contemporary mixing techniques, synthetics and acoustics, randomized patterns and thoroughly composed arrangements, mechanical grids and the space in between.