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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.

"Operating sans the usual metallic accoutrements—i.e. distorted guitars—Uldis Vitols (bass),  Søren Høi (drums) and Lorenzo Colocci (flute, flaubosax, electronics) create chaos with a clashing mix of electronics, percussion and experimental wind instruments. It’s not so much heavy as it is frenetic and primal, in a weirdly futuristic way." - Decibel Magazine

"When a debut release crosses your path with the claim that one of the musicians on it has invented his own new instrument, it seems decent to give it some attention. […] BYE BYE TSUNAMI are at their best kicking out rock-minded jazz/noise jams with belching clouds of tabletop electronics, along the lines of groups like The Thing or Ultralyd." - The Quietus

If you want something really weird to mess with your perception of music, BYE BYE TSUNAMI present the most outrageously bizarre record you’ll hear this year. And to be clear, it’s January." - Distorted Sound Magazine

"BYE BYE TSUNAMI's eponymous debut EP could create a new genre type called “future jazz,” with a focus on experimental noise that is not for everyone. In fact, it’s not really for many people, as songs like “J-Pop Love Banana Murder” and “Holdin’ Banana Spiders Through The Folds Of Time/Space” are more of an endurance run than any low-fi black metal in existence." - Heavy Music HQ

"One of the most pleasant surprises in the extreme/experimental music sphere dropped at the very beginning of the year. Hailing from Copenhagen, BYE BYE TSUNAMI encapsulate our age’s chaotic and frenetic spirit in their self-titled EP, released through the ever-fascinating Nefarious Industries… the trio rushes through an exquisite array of sounds and genres. The noise rock of Lightning Bolt is right there, the structures punishing all, but so is a pop sensibility. It is stunning to see how easily they can change from the harsh and relentless to moments of introspective IDM influence or freestyle, mutated folk-infused flutes. And do not even get me started on this self-built instrument of chaos they have created, the entropic flaubosax!" - PopMatters