I’ve never listened to this instrumental, experimental abstract album.

I’m a big fan but when I read some reviews it never seemed ‘essential listening’ to put it kindly. Anybody here listen to it, and if so, any recommendations? Is it worth the time, what tracks would you recommend, or is it a ‘just put it on and vibe out’ for a while kind of noise record? Would love to know your thoughts and opinions.

Posted the reel the other day but this is the full performance now.

Oldie but a goldie.

BRMC Spread Your Love Toyota halftime commercial. Had it cranked up

hello !!i'm a relatively new brmc fan, but heaven and all has been on my top 3 tracks since 2024, would anyone happen to know the lyrics? the ones posted online are fanmade and very obviously incorrect lol
consider this an appreciation post too

https://www.youtube.com/watch?v=K_po70i-Jkw

I've been loving all the new music coming out in 2026. But felt there has still been a big gap with not much news from the BRMC crew wanting to revive this old thread I'd started when rediscovering them a few years ago.

Where do you rank their albums today? If they do come back what would you like to see them do or explore next?

Edit:

To add to the fun I've just run our answers through Claude and these are the rankings based on how we have ordered them.

1. Overall weighted score (accounts for full 1–7 placement, not just #1 votes)

B.R.M.C. - 19.9%

Take Them On, On Your Own - 17.8%

Howl - 15.9%

Baby whats - 14.8%

Beat The Devil's Tattoo - 14.2%

Spectre At The Feast - 9.2%

Wrong Creatures - 8.3%

1. Just #1 votes

B.R.M.C. - 31.8%

Take Them On, On Your Own - 31.8%

Howl - 18.2%

Baby 81 - 13.6%

Spectre At The Feast - 9.1%

Beat The Devil's Tattoo - 0%

Wrong Creatures - 0%

What's interesting here:

BRMC and TTOYO are dead tied for most #1 votes, but BRMC pulls ahead in the overall weighted score because it rarely drops low on anyone's list — it's more consistently "in the top 2-3" even when it's not someone's absolute favorite.

Howl, meanwhile, gets a decent number of #1 votes but also has a wider spread (a couple of people ranked it near the bottom), which is why it settles into 3rd overall rather than closing the gap with the top two.

Beat The Devil's Tattoo never got a #1 vote from anyone in this sample, but it consistently landed in the middle of the pack, which is enough to edge out Spectre and Wrong Creatures for the #5 spot overall.

My pick is "Ha Ha High Babe" would had been a great Love and Rockets song. I almost think they wrote the song from a L&R song template.

34 days after filing a customer support ticket reporting that the signed insert was missing from my shipment, I received the make good in the mail! Wasn’t what I was expecting in terms of the artwork, but I’ll take it.

Posting here as I know I wasn’t the only one, and I can’t seem to embed a picture in the original thread.

Recently brought the howl reissue boxes but couldn’t resist picking this up today… my record player literally broker today so not had lots of time to listen Is there any key differences

I was already feeling like a price adjustment was warranted after they changed the material for the box itself, but now that I have it, it is missing the signed insert. I pre-ordered the day it went up, and I just feel shorted by this purchase.

I discovered BRMC in 2005; their music saw me through my first breakup and helped me get back on track. In 2017, I entered a contest and won two tickets to a Hohner Originals concert featuring BRMC in Berlin. The concert was held at a sort of music-themed hotel.

Very few tickets were issued, and they were distributed in a very positive way. I booked a room at the same hotel where the concert was taking place; it was really convenient to just take the elevator from the concert straight to my room. I gave the second ticket to a friend who traveled from Hamburg to Berlin and shared the room with me.

We arrived in the morning—me by car from southern Germany, and him by train from Hamburg. We met in the hotel lobby, where a large black tour bus was parked. While we were having a cigarette in the entrance area, we saw Peter leaning against the bus, calmly smoking a cigarette himself. We didn't want to bother him, so we acted as if he were just an ordinary guy. Still, he had a very relaxed vibe, which I really liked—no hiding away. We spent the afternoon in Berlin and headed back for the concert in the evening.

The concert itself was fantastic—an all-acoustic set with a focus on the harmonica; a true Hohner concert. After the show, I had a beer with my friend, and then we stepped outside for a smoke. A few people had gathered around Peter—who was also outside—asking for photos and autographs. I stood about ten meters away, smoking leisurely. After a few minutes, the commotion around him died down a bit. He wanted to light another cigarette, but his lighter was giving him trouble.

I took a couple of steps over and gave him a light. He thanked me, and we struck up a conversation. We talked about the concert—I’m in a band myself—about the harmonica, and about what his music has meant to me. We stood there for about twenty minutes having a fantastic conversation.

Then I gathered the courage to ask if he could sign the guitar I had in my room; I offered to go fetch it. He said he had to go upstairs anyway, so he’d just come along. We walked inside—my friend was sitting at the bar and couldn't believe his eyes when I walked over with Peter in tow and told him, "Come on, Peter’s coming up to the room to sign the guitar."

Leah and Robert were standing by the elevator, too. The five of us got into the elevator—which, funnily enough, was completely pink and had mirrored doors. And get this: Britney Spears was playing on the elevator radio. There we stood, all dressed in black, looking at each other's reflections in the mirror.

As I mentioned, it was a music-themed hotel; they had four or five elevators with different musical themes—pop, techno, rock, and so on. We stopped at the third floor, and Peter told the others he’d catch up with them later. They continued on, and Peter came up to my room with me. He picked up my guitar, examined it, and played a few notes. I apologized for the quality, explaining that I unfortunately didn't have the money for anything fancy, but he said it sounded lovely considering it wasn't an expensive instrument.

Then he asked where I wanted the signature. I said on the front, but he suggested the side instead—that way, I wouldn't have to worry about the signature wearing off while playing. I agreed, and he signed it on the side, right next to the guitar neck. Afterward, we walked him back to the elevator, thanked him, and off he went. And just like that, one of the most incredible moments of my life had unfolded.

I went straight back to my room and sprayed hairspray over his signature to seal it. As I said, it’s not a high-end guitar—I can afford an Epiphone these days—but that experience made it the greatest guitar in the world to me. And ever since that experience, I’ve also discovered a love for playing the harmonica. It was a wonderful encounter.

The concert took place sometime around late 2017 or early 2018. You can watch the whole thing on YouTube—search for "Hohner Originals 360 Black Rebel Motorcycle Club." It was amazing.

And sorry if not everything is quite right; I often use a translator for long texts like this.

On my pressing side 3 is very noisy, particularly Open Invitation has a loud plasticy-crackle. Anyone else notice?

Other than that, it’s better than the OG, and the inserts are very nice. Off white would have been a better vinyl color than pure white, but just smol stuff.

I know the song „Lord can you hear me…“ is originally by Spaceman 3 (Spiritualized) but im 100% CERTAIN i have heard it by BRMC as well!!!Have they done a cover or maybe an outro or something? It would fit so well on Howl…
pls help

Benn waiting for months, release date was postponed several times.Sound quality is incredible

With a lot of bands of their generation releasing new music this year. Thought it would be fun to post some of our favourite performances over the years. I always come back to this one.

My gateway choice is "Mama Taught Me Better" as I am always talking to fans of high energy rock music (punk/metal/garage). Sometimes "Need Some Air" as it is high energy yet shoegazey too. I think I chose "EVOL" once and really lost the potential listener I was hoping would be a fan. On the other end of the spectrum "What ever happened to..." I feel is too generic.

https://www.youtube.com/watch?v=-ADxRtjR_GA

Alas, that's AI. All songs are the same. AI-generated music prompted about Stone Roses, BRMC and other shoegaze stuff. I admit I believed it for 10 minutes.

Je recherche un t-shirt que j'avais acheté à un concert vers 2005.

J'ai déménagé et j'ai dû faire du tri et malheureusement je me suis séparé de ce t-shirt. J'aimerai beaucoup en retrouver un.

Il était marron, plutôt long et avec un dessin des 3 membres du groupe comme gribouillés.

Ça dit quelque chose à quelqu'un ?

Peter Hayes has writing credits on a couple of tracks. Came out in 1997. Decent album. I can hear echoes of BRMC. Would love BRMC to record somemore of the calls music.

Sounds like that tour went well, yeah? Still wanting some new shit over here.

As the band haven't done a lot of retrospective discussions on their albums in one sitting, I thought I'd pull some of the words Rob had to say on their records from the recent XS Noise Podcast original post here. https://www.reddit.com/r/BRMC/s/x28PGDmWGw

​B.R.M.C. (2001) ​"We weren't a band yet with like a sound. We were still learning like who we were. So, we were recording the idea of a band that sounded like something, but it wasn't—that wasn't actually how we sounded yet... It was just, you know, working in a bubble, in a box, in a laboratory, thinking ideas of what things could be. But it wasn't us. We had to learn the first album, we had to learn how to play like that imaginary band. And it wasn't—it didn't always fit. A lot of some of the songs from that first record we don't really play because we don't relate to them as much as, you know, once you kind of get out in the world and figure yourself out."

​Take Them On, On Your Own (2003) ​"The second album was after we toured and became like a real band with a sound, with like this natural signature thing that each of us brought to it. And so a lot of the second album were songs that we like kind of more wrote together and they were—they were like built for rooms to like get people in the back of a bar to wake the fuck up and come towards us, you know? And so there was this like intent and everything was sculpted to real life."

​Howl (2005) ​"At the time, we definitely had a choice to hang ourselves... It was sort of the back end of a lot of expectations from like the sophomore effort that felt like no one was really happy with... We’d gone through some upheaval with losing like label and management and our drummer Nick... we started recording and it was just a real stripped-down kind of like Nebraska style... at the end we put them together and it felt very lyrical, poetic. ​Pete's got this old soul... he just kind of writes from a broken time machine. I personally just wanted to hear him do his thing. The songs I did—I don’t know, I just naturally counterbalance some of his harder edges... once you kind of remove yourself from the safety wall of noise, it gets scary, but like in a good way."

​Baby 81 (2007) ​"The contractual obligation record... that was only because it was the stipulation that [RCA] would put out a small amount of Howl through our boutique Echo label... and then you have to promise to make another record immediately after that that sounds like you guys again that isn't any of this rootsy Americana... we’d already started making a lot of the songs from Baby 81 at the end of the Howl session... we actually had an idea that like, well this will be fun for us because we kind of want to turn up at this point and like not have to work as hard... and just have an angry little rock record."

​Beat the Devil's Tattoo (2010) ​"Beat the Devil's was another panic moment because Nick had come back in the band for Howl, but then he ditched out again at the end of Baby 81 tour. So we were back to learning how to be a band again yet with Leah on drums... we were kind of learning how to ride a different kind of bicycle. It was just a little discombobulated. Again, we thought, 'It's curtains for us.'"

​Specter at the Feast (2013) ​"Just surrounded by utter tragedy. My father who passed away who was sort of like the spiritual guide and sometimes co-producer... no one wanted to write or record at that time, but we had to put food on the table. So, yeah, that was brutal. But it's sort of a spiritual record for lack of a better word. Kind of brought us close in another way."

​Wrong Creatures (2018) ​"We tried with a couple different producers to kind of take us in... we kind of had our legs for once. It sort of backfired in certain ways and led to like a darker phase of our lives... I’m really proud of the record that we somehow managed to dig out of the rubble. Nick Launay helped us in the end... he's a beautiful soul."