Broadcast were an English band formed in Birmingham in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass).

[1] Broadcast released three studio albums—The Noise Made by People (2000), Haha Sound (2003), and Tender Buttons (referencing Gertrude Stein's experimental book of poetry by the same name) (2005)—on Warp Records, as well as several EPs and a collaborative album with the Focus Group titled Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009).

Keith York, Phil Jenkins, Jeremy Barnes, Neil Bullock and Ash Sheehan have also featured in the band as touring or session drummers.

Keenan (formerly of folk duo Hayward Winters) and Cargill met in the mid 1990s at the Sensateria psychedelic club, and formed Pan Am Flight Bag in 1995, renamed Broadcast after several concerts.

[3] The band's first release in 1996, was the 7" single "Accidentals" (issued on Wurlitzer Jukebox Records), which was written based around a sample from Joseph Losey’s 1967 film Accident.

Their second album, Haha Sound, was released in August 2003, preceded by two EPs, Microtronics Volume 01: Stereo Recorded Music for Links and Bridges and Pendulum.

[11] While touring the United States to promote Haha Sound, the group recruited American drummer Jeremy Barnes to perform their live shows.

[12][13] Felton departed after Haha Sound to form a new project, Seeland, with touring keyboardist Billy Bainbridge (formerly of fellow Birmingham Warp act, Plone).

[15][16][17] Cargill, the sole remaining member, said in a 2011 interview with Under the Radar that a new Broadcast album was in the works, featuring vocals recorded by Keenan shortly before her death.

[23] Mother Is The Milky Way was originally released as a limited tour-only CD to support their collaborative album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age.

Cargill formed the project Children of Alice with House and former Broadcast member Stevens; they released their eponymous debut album in February 2017.

[28] The Guardian described their work as incorporating direct pop while "mixing together influences such as the primitive electronics of the BBC Radiophonic Workshop, Czech surrealism, Moog organ, forgotten film soundtracks and kitsch ephemera.

"[4] Keenan's first love had been primarily folk music, but this influence was downplayed in the early years of Broadcast due to Cargill's initial dislike of the genre.

"[4] In a review published in Spin in 2001, the band were unfavourably likened to being "stuck in a time warp–the sound of '70s wife-swapping parties with beanbags and unhappy children serving sausages on sticks.

[10] Additional instruments, including the vibraphone, timpani, clarinets and organ were recorded and subsequently fed through a speaker again in order to be re-recorded with microphones.