BYE BYE TSUNAMI are a group of sick individuals who thrive in uncertainty and find delight in the entropy of noise. The Copenhagen, Denmark-based trio employs disrupted rhythms, unique self-built futuristic wind instruments, and heartbreaking cyborg screams to expand the musical language beyond its wildest horizons. Scavenging the distressing remnants of a future no one wished for, BYE BYE TSUNAMI are redefining the new era of post-real.
Lorenzo Colocci (flute, flaubosax, electronic), Soren Hoy (drums), and Uldis Vitols (bass) first met in pre-pandemic era Copenhagen after being respectively active in the noise/experimental/jazz/metal scenes of Berlin, Copenhagen, and Amsterdam. Willing to realize their life dream of forming a dysfunctional boy band, in 2020 they finally give birth to BYE BYE TSUNAMI:...
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BYE BYE TSUNAMI are a group of sick individuals who thrive in uncertainty and find delight in the entropy of noise. The Copenhagen, Denmark-based trio employs disrupted rhythms, unique self-built futuristic wind instruments, and heartbreaking cyborg screams to expand the musical language beyond its wildest horizons. Scavenging the distressing remnants of a future no one wished for, BYE BYE TSUNAMI are redefining the new era of post-real.
Lorenzo Colocci (flute, flaubosax, electronic), Soren Hoy (drums), and Uldis Vitols (bass) first met in pre-pandemic era Copenhagen after being respectively active in the noise/experimental/jazz/metal scenes of Berlin, Copenhagen, and Amsterdam. Willing to realize their life dream of forming a dysfunctional boy band, in 2020 they finally give birth to BYE BYE TSUNAMI: monsters giving birth to other monsters.
BYE BYE TSUNAMI immediately captured the attention of the public with its unique sound imprint—the compositions are based on the Flaubosax, a unique self-built futuristic wind instrument conceived by Lorenzo’s twisted mind. Generating new soundscapes with the use of a personal asymmetrical tonal system and interacting with complex powerful drum rhythms, they lead the music through disrupted absurd forms and post-industrial spiritual textures. The band aesthetic and video works, curated by fictional audiovisual artist Nathan L., merge together meticulously in a truly visionary dystopian universe, which, despite its frenetic nature, possesses a paradoxical sense of poetic and emotional sensibility, raising highly relevant questions about the role of social media, advertisement, and gender in contemporary society.
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