Five piece art punk band from Brighton – or so the masses are led to believe, by Public Body’s new bio, cannily circulated amongst the ‘great and good’ of the British music industry, BUT NOW we’re thrown back in time and space. Huddled around a wood effect desk in the off-white bowels of a government building, the Public Body is settling upon a final draft. Everyone has been awake for weeks: their fingertips calloused from punching calculator keys and dyed by dozens of clumsy printer cartridge refills. Two fluorescent tubes have died in one corner of the ceiling, leaving reams of discarded bio drafts in a pool of artificial shade. An officer huddled beneath the table, circling sleep’s great plughole, is kicked awake as a colleague leaps from their chair with a triumphant yawp. “Yes! This is the one!” they cry, one-sheet in hand, to a weak chorus of cheers. Intent on resolving all the world’s self-inflicted problems via regurgitated and bastardised ideas, the Public Body has flung open their storage cupboard of bygone technologies: here an 80’s drum machine, there a 60’s transistor amplifier. Pursuing the peerlessly lucrative idea-sharing medium of popular music, they have come in under-budget for the third consecutive quarter (delighting our friends upstairs) and can now pair their perfect album with a perfect bio. The assembled, all rising to their feet, exchange congratulatory handshakes beneath a plaque bearing the Public Body epigraph: “Innovation, stand down!” Here’s Break From Line, enjoy!
This Is Pop? 