Following the sudden closure of their record label, Montreal-based DISHPIT's long-delayed debut album is finally seeing the light of day as the band begins working on the follow-up. DIPSHIT — recorded with veteran producer Steve Albini — unleashes a devastation of post-punk and lo-fi grunge upon the world.
While DISHPIT's roots are grounded in Canadian soil, they've gained quite the traction in the UK via various tours and festival slots — on their website, they mention being a Canadian band that's gotten air time on the BBC but not yet on the CBC. Between their foothold in the two international music scenes, they've managed to cultivate a niche following through songs that pair topics such as class struggle and female empowerment with kick-your-teeth-in energy and a playful attitude.
One of the standout elements is singer/guitarist Nora Kelly's versatile, occasionally shouted vocals, which cut through the chaotic and noisy instrumentation like a switchblade and demand you fork over your attention. Her inflection bounces from deadly serious ("Fix Your Life") to guttural and snarling ("Trash Queen"); from uninhibitedly vulnerable ("This Time") to tongue-in-cheque and absurd ("Plaza People"). Throughout, she captures moments of anger and fun and surgically walks the tightrope between the two.
The music behind the vocals is no less impressive or thrilling. "Sold Out," "1000 Ways to Die" and "Family Man" soar because of gritty, frantic guitar and bass work on top of the extra tight percussion, creating a sonic battleground that'll certainly amp up a live audience. Even a slower number on the record, like the acoustic closer "Get Rich or Die," carries a certain dark and moody edge to it, and, aside from maybe the throwaway instrumental track "Splinter," it all works.
DISHPIT's ferocious and stellar-sounding first outing is a stepping stone in the right direction, deservedly setting the outfit up as a band to be on the lookout for.
(Independent)While DISHPIT's roots are grounded in Canadian soil, they've gained quite the traction in the UK via various tours and festival slots — on their website, they mention being a Canadian band that's gotten air time on the BBC but not yet on the CBC. Between their foothold in the two international music scenes, they've managed to cultivate a niche following through songs that pair topics such as class struggle and female empowerment with kick-your-teeth-in energy and a playful attitude.
One of the standout elements is singer/guitarist Nora Kelly's versatile, occasionally shouted vocals, which cut through the chaotic and noisy instrumentation like a switchblade and demand you fork over your attention. Her inflection bounces from deadly serious ("Fix Your Life") to guttural and snarling ("Trash Queen"); from uninhibitedly vulnerable ("This Time") to tongue-in-cheque and absurd ("Plaza People"). Throughout, she captures moments of anger and fun and surgically walks the tightrope between the two.
The music behind the vocals is no less impressive or thrilling. "Sold Out," "1000 Ways to Die" and "Family Man" soar because of gritty, frantic guitar and bass work on top of the extra tight percussion, creating a sonic battleground that'll certainly amp up a live audience. Even a slower number on the record, like the acoustic closer "Get Rich or Die," carries a certain dark and moody edge to it, and, aside from maybe the throwaway instrumental track "Splinter," it all works.
DISHPIT's ferocious and stellar-sounding first outing is a stepping stone in the right direction, deservedly setting the outfit up as a band to be on the lookout for.
