Grecco Romank are Tāmaki Makaurau’s premiere purveyors of brutalist sewer-pop: a three-headed creature stitching together opera, industrial rave, and gleefully uncommercial chaos. Formed in 2020 in the abandoned ruins of a primary school, the trio — classically trained soprano Billie Fee, growler-in-residence Mikey Sperring, and filmmaker-turned-synth-wrangler Damian Golfinopoulos — have carved out a sound that shouldn’t exist but very much does. Their world is one where high art slips in dog shit, crashes headfirst into a drum machine, and emerges snarling, sweaty, and weirdly catchy.
They’ve released a rapid-fire series of albums (Red Tower, Wet Exit, Arts Colony) that have dominated alternative charts, been nominated for best Alternative artist at the AMA’s, all whilst refusing every expectation of commercial sense. Critics have described their music as everything from “luxuriously bogan techno” to “the rave you never want to end up at but always get dragged into.” Their live shows — part rave, part performance art, part deranged group fitness class — are infamous for their intensity.
Collaboration fuels the band: they’ve worked with Princess Chelsea, Our Carlson, Eden Burns, Lawrence Arabia, Dick Move, and dozens more, expanding their sonic universe while keeping their core chaos intact. Their 300-page Arts Colony book, now sold out, extends their world into satire, visual art, and fictional cultural history.
Grecco Romank remain proudly uncommercial, committed to transforming societal collapse, technological dread, baffling neoliberal infrastructure into something you can dance to. Their mission is simple: corrupt every genre they touch, ruin expectations with glee, and make the apocalypse a hoot.
"They have released three albums of dark, intense, pounding dance music often dripping in irony and self references. Their sound is bleak and aggressive but is also incredibly fun to thrash around to "
Chris Schulz of Boiler Room
