Brontide is a band that evades a typical description and introduction. Not ones to simply aim for a single/single/album campaign success story, and armed with a colourful collection of past and present musical projects such as La Roux, Pictures, I Was A Club Scout, Young Legionnaire and The Petty Thief, Brontide both weave together and detract away from their former collective bands to embody an altogether different sonic output.

Despite the band's formation in 2007, this month finally sees the release of their long-awaited debut album. Released on hardcore-heavyweights Holy Roar Records, Sans Souci may have been a long time coming, but its intense, continuous flow of instrumental punches are both arresting and astounding, and completely capture the cacophony of the live shows that have kept them in the forefront of the UK hardcore scene these last three years. Simply put, it's completely worth the wait.

Fresh from a two-week tour with a set-list that showcased Sans Souci in its full-length glory, The 405 caught up with drummer William Bowerman to talk at length about the creation of the band’s instrumental formation and the essential make-up of the album.

For any readers unfamiliar with Brontide, can you tell us a little bit about your history and formation, and also how you would describe your music, as, wonderfully, your sound seems to evade description?

Brontide started a few years ago when myself and Tim, our guitarist, got together and started playing some ideas in his bedroom. We have always been in bands together since the age of seven. We wanted to play with the idea of looping the guitars and playing over it to build these “soundscapey” kind of songs. We soon realised we needed a bass player so we drove down to Brighton to try my old flatmate Nathan. Everything he was playing was not what we expected and it changed the overall sound of the band drastically, but definitely for the better. I think these extra melodies really shaped our sound as a lot of bands doing a similar thing seem to be forgetting about melody.

You’ve been a band since 2007 and played an onslaught of shows and tours over the past three years. The debut album’s been a long time coming – why has it taken so long to perfect the record?

You might be surprised to know that there isn’t a huge amount of money in eight-minute instrumental songs, so we all have to work too. Finding a time where all three of us were free to go into a studio took a very long time. That being said, it was not until August ’10 that we felt we had a collection of songs that would work as an album. We could have put some songs out in ’09 on a record but they really wouldn’t have done us justice, and they wouldn’t have stood the time as long as I think these ones will.

Sans Souci was recorded with Jason Sanderson who’s been responsible for working with the likes of Rolo Tomassi and 65daysofstatic. Was there any particular reason why you decided to work with him?

Jason has been a friend of mine since I was about 16, and we have always spoken about recording together so it seemed like a perfect time to do so. He has always been so passionate about our band, more so then anyone else that we thought about doing the record with. He recorded it with a lot of love and he brought some great ideas to the table. He’s done a great job making the heavy parts sound brutal and the melodic parts sound beautiful.

The album unfolds and plays out like one continuous entity, rather than a collection of songs. What was the idea and inspiration behind doing this? And do you think that this is an easier thing to do when you’re not bound by the themes and stories that are made more obvious by the inclusion of vocals?

Absolutely. Vocals in songs very much tell you how you are supposed to feel and what you are supposed to think about when you are listening to it, where as instrumental songs you have to work this out for yourself. The album was recorded as one piece of music to encourage the listener to play the whole album through as it is structured in movements. We don’t like the idea of just sticking a happy song in next to a sad song without having a piece of music, whether it be an outro or an interlude that will tie them in, starting happy, and gradually getting a little more minor. In our opinion, the whole flow of the album is just as important as the songs themselves.

You’ve just finished a UK-wide tour that featured the record played in full in a live environment. What have the crowd reactions towards the new material been like so far?

We’ve been a little overwhelmed by peoples reaction to it. We knew it was risky to go on tour and play non stop for an hour every night with out a record out, but we went for it anyway. We put out a video for 'Matador' just before tour and already seeing peoples reaction to it and recognising the song has been so great. We get a lot of air guitarists and air drummers at our shows which is the closest to singing a long we’re going to get!

Between the three of you you’ve racked up an impressive batch of past musical projects. How have these previous bands differed and/or helped you to form the musical structure of Brontide?

Brontide for us is the perfect middle ground of everything we have done in the past. All of my previous projects have been very poppy, all of Nathan’s have been very heavy and Tim’s have all been very atmospheric. We all bring parts of what we have done before to the table and throw said table into a blender. Influence wise too we all have a varied taste resulting in the same thing.

You’ve already toured with incredible bands such as Rolo Tomassi, Minus The Bear and Shapes. Who has been your favourite band to play with and are there any particular bands that Brontide aspire to share a stage with in the future?

Such a tricky question! We had a blast with all of the above bands so it would be tricky to pick any one of them! We like playing with more melodic bands and bands that we don’t sound anything like. We played with The XX a while back and went down really well. Also just did a fun tour with The Xcerts and You Animals. As for sharing the stage, we’ve always said Muse. It is mind blowing how a band that self indulgent (in a really good way) have grown to be so big! We think they’d like us.

You’ve released ‘Matador’ as a free-download single. What was your decision behind this and do you think that this is a reflection on the current state of the music industry where bands have to seek income through alternative routes instead of relying on album sales?

We know we’re never going to make any money on album sales, and we’d be pretty deluded if we did. The only people I know that have are pop stars with mega sales under their belts. Already at the very small level we are at, we are breaking even on live revenue and making money on merch. As depressing as this is to say, a record is an investment to get people along to shows.

Your new video for ‘Matador’ is almost filmic, and very visual, much like your live performances. Was this frenetic element something that you were hoping to achieve with the video?

The 'Matador' video was a interesting one. The response to it has been fantastic. It was always going to be tricky to make a video for an instrumental five-minute song without it getting boring. It was the work of director Charlotte Knight who has pulled it out the bag. We had an edit back from someone which I was quite happy with but she said it could be better. We waited a week and she sent back the current edit which we were blown away with. As mentioned earlier, without vocals you can’t really tell a story, so we projected the images on us to try and muster up your own stories to go alongside the song.

Besides the album release what else is in store for Brontide for 2011?

It’s all very open at the moment. We’re very much a quality over quantity band, so we will spend a lot of the summer writing for album #2 and a few festival appearances. We have a lot of ideas which we need to sit down and sort through, though the half an hour song is up there near the top of the pile at the moment.