New band of the day - guardian.co.uk - PAUL LESTER

Quad Throw Salchow (No 590)
These purveyors of electro-pop noir sound like Joy Division fronted by the Blair Witch. Clearly candidates for the next series of Britain's Got Talent then

Hometown: London.

The lineup: K Doyle (bass), JG Drake (synthesiser), O (singer, lyricist).

The background: You know how movies and TV shows love the capsule pitch, the one-line sell? Well, if we were trying to encourage a record company to take an interest in today's new band with a few pithy words, we might describe them as "Joy Division fronted by the Blair Witch". Because that's the impression we get from their gloomy disco rumble, their trebly, throbbing basslines and primitive machine pulsebeats, and the overall atmosphere of cold noir-ish menace provided by enigmatic frontwoman O's eerie croak, a voice that makes her sound like the "star" of the aforementioned forest chiller. At the very least, think Marianne Faithfull circa Broken English breaking into the studio as Throbbing Gristle recorded 20 Jazz Funk Greats.

They're all about preserving a sense of mystery and keeping their identities hidden in this overlit, overexposing FaceSpace, Twitter age. Hence their use of unrevealing, blank, pseudo-anonymous names and shrouded, shadowy press photos. Internet videos of the trio comprise a series of silhouetted shapes materialising then disappearing just as rapidly back into the darkness, while reports of their live shows are of the vague, nebulous variety: hushed, awestruck dispatches from the lips of a select minority of converts and disciples.

We know a little about them. Their name comes from a "fiendishly difficult ice-skating move", involving four turns in the air and a jump, as perfected by one-time Swedish ice-skating champion Ulrich Salchow – his image from the 1908 Olympics adorns the band's MySpace, although neither Doyle, Drake or O have any knowledge of the sport beyond that, nor do they harbour intentions of one day becoming entrants on a show called Celebrity Dancing On Frozen Tundra. Their self-titled debut album was put together in a former bake-house turned studio in a suburb of London, each track starting as a sequence of synth fragments and bass blips transmitted from one mobile phone to another. The lyrics, meanwhile, come to O "from the ether", from the Surrealists or French philosophers such as Sartre and Camus. But they're not pretentious; you could rarely say of O that She Lost Control. The titles of the songs are simple and to the point: Speed, Matters of the Mind, Fate Will Find You, The Game is On. There is a sense of mild urgency, which is reflected by the chiselled precision and nervy edge of the music, a monochrome mix of post-punk, electronica, krautrock and, oddly, club music. "There's a dance element," they say, breaking cover briefly to explain what they do before withdrawing into the night. "We were once called 'electronic-pop noir', and that was close. There are some weird angles and dark sides, but the groove is always there."

The buzz: "Imagine Suicide breaking into Studio 54 to see Ikara Colt laying down a track for Best Driving Anthems Ever next door to Kraftwerk reading up on Hacienda-era Manchester while Edith Piaf duets with David Bowie."

The truth: If you like the idea of blood-curdling croaks and shrieks set to dubby electronic rock, QTS are for you.

Most likely to: Sound scary in a wood.

Least likely to: Overly impress Holly Willoughby.

What to buy: The single Chrome September is out now on TummyTouch, followed by the debut album on 17 August.

File next to: Joy Division, Colder, Suicide, Marianne Faithfull.

nme.com - Tim Chester

Chances are you won't have heard of Quad Throw Salchow. They don't exactly go thrusting themselves around in people's faces which, in an age of pop terrorists holding us to hostage in all kinds of ways, is quite refreshing. You won't catch this lot dumped in a field in Shropshire with twenty pence and a pair of night vision goggles to help them find their way home. They won't be live tweeting their latest gig or playing shows in pitch black. They probably don't have firework bras. In fact, you'd be hard pressed to find them at all. They rarely play gigs, their MySpace is minimal, and their press shots look like a variation on this:

Their music, too, is as minimal as their promotion. Their debut self-titled album is a masterpiece of stark kraut rhythms, pared-down post-rock and menacing electronica. It's a constantly surprising affair and has had them compared to everything from Suicide to Ikara Colt, Kraftwerk and Bowie. Have a listen and see if you like. If you do they're making a rare outing into the world at Pure Groove tonight.

Dazed & Confused - Tim Noakes & Ned Beauman - August'09

Last year, researchers for the first time worked out how to play back a phonautograph etching from 1860, the earliset known example of recorded singing. It turned out to be really fucking creepy. But not quite as creepy as the spooky witchlike croak of Quad Throw Salchow's vocalist on this album of dark, synth-stained post-punk.

Artrocker - Lee Puddefoot - September 09

Enigmatic and mysterious, little is known about this trio. And their debut album doesn't make things any easier: is it post punl? Krautrock? Electronica? Maybe a little of all three? The female vocals crackle over drum beats and synthesiser arrangements, making for an atmosphere that's a little bit eerie and very strange. Particularly worthy of note is 'Chrome September', an expansive track that opens up for nearly five minutes with an incessant drum beat, while the vocals croak along like a female Martin Grech. Unfortunately, it's an album that has a few ideas brewing and fails to really take hold of the listener. It's an austere record that's difficult to warm to.

Mojo - Stevie Chick - October'09

Primitive synth funk trio it's hard to imagine Torvill & Dean dancing to. Quad Throw Salchow, as any figure-skating enthusiast will tell you, draw their name from a tricky aerial manoeuvre where the dancer completes four revolutions before landing on the ice. This trio specialise in a most glacial grace, fusing primitive synth throbs with haunted drum machine'n'bass, sounding not unlike ESG had they sprung from Tom Wilson's Factory rather than the South Bronx.Their clanking machine mantras are hypnotic enough, but this debut owes its ghostly funk, its manic urgency, to frontwoman O, whose hissing whispers and croaky squalls add a layer of no wave menace to proceedings. On Chrome September, the trio contrive a deliciously windswept, determinedly '80s torch song; they thrive best on icy chillers like the elemental electro of Speed, and the restless, bristling rumble of Matter Of The Mind.

pinglewwod.com - Scott

In Cold Blood . My only experience of ice skating involved being dropped on my face in a car park then spending a few torturous hours learning how to not fall over while bleeding heavily all over the rink. Ice skating is scary and Quad Throw Salchow know it. They combine death-defying leaps with pitch-black vocals and grooves that are part-motorik, part-demonic. Get their new single at Pure Groove

culturedeluxe.com - Keith Haworth

‘Speed’ starts up the proceedings on a driving bass line that abruptly turns into a frenetic, krautrock-inspired workout, complete with dissonant beeps and manipulated drones. Although a hypnotic start to the album, the vocal delivery of O de Lanzac falls somewhat short, lacking as it is in any discernable dynamic appeal. ‘Matters Of The Mind’ continues in a similar vein musically, although with added string pads that add another dimension tonally, adding to their undeniably distinctive sound palette, this again suffers somewhat in the vocal department.
‘Fate Will Find You’ however is a far more appealing prospect, venturing as it does into Goldfrapp’s more exploratory, metronomic electronic territory circa ‘Black Cherry’ and ‘The Game Is On’ and ‘Chrome September ’ are also altogether far spikier affairs. They have some interesting nuances and unexpected sonic developments that, at their best, are evocative of Riton’s more leftfield kraut experiments under his Eine Kleine Nacht Music moniker. ‘Chrome September ’ in particular is far more muscular before building to a subtle string crescendo.
The intro to ‘Primitive’ could almost be a long lost outtake from Cluster’s formidable `Sowiesoso`, although it’s mid-tempo tom tom assault is a little harder sounding. This then leads us into one of the albums strongest tracks in the shape of `Dead Good`, where the subtle interplay of muted guitar inflections and eighties synth lines are punctuated by affected Bontempi beat box rhythms with some fine results.
The wonky beats and stuttering rhythm of ‘Seeking’ reveal a more experimental side to the band, taking them dangerously close to Bat For Lashes, although without their unique eccentricities, while the scratchy guitar intro and solid bass of ‘The Unwelcome Guest’ makes it another strong album highlight. As is the final track, a slower version of ‘The Game Is On’ which reproduces the track and filters it through Joy Division`s dark and unnerving `Unknown Pleasures`.
On the strength of this recording Quad Throw Salchow show a glimpse of early promise that is yet to fully ignite. However, in a barren landscape where mediocrity is the new leftfield, it is nevertheless refreshing to hear a band that do have something new to offer.

clashmusic.com - Stephen Harris - clash magazine Sept 09

A little mystery can go a long way. Pseudonyms and shrouded faces offer anonymity with all its protection and freedom, but they also give an artist an air of enigmatic excitement that’s great for arousing audience interest – and hiding flaws.
Quad Throw Salchow?guard their secret identities closely. Shadowy videos on the internet reveal a trio comprising a bassist, a synth player and a singer known only as ‘O’. Even their record company claims to know little about them.
In a culture dominated by reality TV shows and magazine gossip pages, it’s refreshing to know that not everyone is looking for fame for fame’s sake. This band want people to search for them discover the music for themselves. And why not? It’s a strategy that’s worked perfectly for artists from Banksy to Burial.
It’s fitting to mention Burial at this point, because Quad Throw Salchow use the throbbing post-punk of their self-titled debut album to evoke a night-time journey through London’s dark underbelly, just as Burial did with dubstep on ‘Untrue’.
But where Burial’s city is a 21st Century one, Quad Throw Salchow take us back to the black and white days of the late 1970s and early 1980s. Their pounding basslines and hypnotic synth work could be from an alternate New Order, one from a parallel world where Bernard Sumner’s vocal chords have been attacked with a cheese grater.
Strange then that O is actually a woman. As the band’s lyricist, O releases her inner thoughts as androgynous guttural croaks that add to the album’s sense of foreboding and urban decay. Even where the music seems like it might take things to a light place, as on ‘The Unwelcome Guest’, barbs like “Spending time with you would fill the room with shame,” return things to darkness.
By the end of the album, all hope is gone and you’re left with the inevitable march towards oblivion. Quad Throw Salchow are difficult at the best of times and suicide-inducing at their worst. Which makes you wonder whether all that effort you put into discovering them was really worth it.

subba-cultcha.com - Sara Curtis

Creepy, nerdy electronica from three guys who wish to remain anonymous… except for synonyms.Three guys who remain as silhouettes and call themselves O, K. Doyle and J. G. Drake are responsible for Quad Throw Salchow – nerdy, catchy, creepy yet somehow enthralling electronica. Quad Throw Salchow have, somehow, made creepy sounding music by/for nerds sound fun, almost sexy and have given it a dance element. Sometimes it is a little pretentious, and I think this comes more from the whole trying-really-hard-to-be-mysterious thing and the way they talk about themselves, and this is something that I really do not take to. But focusing on the music alone, their eponymous debut is intriguing and fascinating at times, yet boring and overly repetitive at others. Whilst they have done something fairly different, it isn’t tremendously unlike anything else. It is almost similar to a lot of things. There is one thing that makes this well and truly stand out and that is that creepy voice! On some songs it sounds normal, and others it sounds like a little dying alien. Remember Detroit Grand Pubah and their song about sandwiches? It sounds like that.