Recorded across two months in late mid 2025, Border Band’s new album ‘Terrain’ pushes the 4 piece back to their minimalist roots. Bending between post hardcore, sun city experimental rock & industrial flood music, Border Band, originally formed in 2014 as the Urban Sound Corp house band, exists as a group of like minded freaks constantly chopping and changing.
Border Band Is currently – Liam Beale ( Strings, Vocals), Ricci Waters (Drums), Ryba Rygiel (Percussion, Synths) & Eloise de Chateaub (Mangled Vocals, Brass), split across the Central Desert, São Paulo, Vienna & Allauch. While the band has played, played on and released dozens of recordings in recent years, Terrain marks their first new mainline album since 2015s triple album ‘Slow Burn’.
Terrain can be purchased and/or streamed on Bandcamp & Nina, and will soon be available on CD, for those who still have a player for the best media format around. Border Band is happy to provide a copy of the album at a discounted price to those whole are struggling financially or are unable to make payments digitally.
Former BB Founding Member, Lilly Marcos-Song, described it:
“While I was still in the group, and unless it has changed suddenly would be still true, Border Band only writes love songs. With this in mind, god only knows how beautiful the one being serenaded must be to be graced with such a sonic rose.
After the noisy, small orchestral sized recording of Warp Dancer, Border Band strip away the excess to get at something more mechanistic and hypnotic. The first time I listened, I felt like I was drowning, captured by both the seductive pull and the existential emptiness of sticking your head in a public black concrete koi pond illuminated by overgrown neon lights.
Beautiful and harsh, hypnotic and alienating, like the four people who wrote it, this is a record for after-inbetween & just before something, when the myths lose any semblance of impossibility, and you’re left with just the cigarettes and a phone number.”
Terrain is not on the standard set of streaming services, why you may be wondering:
“From a technical perspective, the loudness normalization algorithms can alter the intended dynamic range and impact of a master recording, and as a band we make specific mixing and mastering choices as part of the narrative context of the album, and we don’t want these limited or effected by said normalisation.
We do not support the exploitive labor practices of the current streaming model where artists are used as gilded Icons for the promotion of music as a product for a wage that would humble amazon wearhouse financial planner. As an independent act, part of an independent collective – we fully self fund and produce our work, with this overhead – and as we view works of art in the context of an artist being a worker – we gotta put some bread on the table, and direct Distrobution models at this point are our best option. We would, in the future, like to move to our own platform for distribution, stay tuned!
We object to algorithmic curation that prioritizes engagement, and would rather have 2 people listen to the album then 200 put a single song in a playlist, stripping the work of its overall context. We are also dedicated to dismantling the arts/apartheid relationship, and have no interesting in being platformed by companies that engage for profit in the genocide of a people.