AVAILABLE FOR AUSTRALIAN ORDERS ONLY
Screaming wind-tunnel guitars and motorik floor tom and snare (“Bleed Out”), ear-splitting electro-punk mush-mouth (“White Witch”), eerie psychedelia (“Dead Birds”), and blackened industrial techno that slithers through most of side two into the skull-cracking closing dirge of “Walk Into The Sea.” Abrasive and perversely catchy.
Limited edition of 300.
“Q-paaq conjure thoughts of no less than my beloved (and woefully underrated in the States) Terminal Cheesecake, a blunted-out group of Butthole Surfers-gone-Middle Eastern electro-dub speed-freaks. Q-paaq have a similar sense of throwing everything into the pot and stoking it til it boils over. On the first side there is a near-constant slather of noise and slurred vocals, as if Jesus & Mary Chain had never heard the Beach Boys. “White Witch” straps in for a Suicide ride, but the record really starts to cook when we get to “Dead Birds” which leans on a Chrome’d-out riff/groove that slunks around til a tidal wave of static eventually overwhelms it. “Lifestyles USSR” leads off side two with a journey into the dark heart of grinding loops and anti-gravity fuzz. “Spine Tree” introduces a submerged techno pulse beneath the miasma. Buy this record, grab a severed head full of drugs and stuff yourself into the garbage can. You’re gonna like the way you look.”
“Quttinirpaaq pack a lot of corroded crust into their jams, reminding these ears of everyone from Throbbing Gristle to, surprisingly, JAMC. If you had that gimp guitarist from Mad Max rifling through some riffs at a construction site with a drum machine and noisiest providing the backing that might explain Dead September best; then again I’m not sure if what I’m hearing is actually riff-based or not. There could be a six-stringer going to town under the audio junkyard, but much like that poor sax player from Puffy Areolas, it’s all a mystery unless you’ve seen the band live.”
Tiny Mix Tapes