Trash Kit don’t feel like they’re looking to please anyone but themselves.
Good stuff and no mistake! Trash Kit is a spiky set of tracks, possessing a strong DIY aesthetic (seen also with the hand-drawn cover and booklet artwork) and a very creative edge. This is a very feminine record, despite the tomboyish stance and scratchy sounds; a strong and strident feminine creativity that I’ve not heard since the early 80s. It’s cheeky and fun. Initially I thought the whole thing was going to be over in 10 minutes flat, the first handful of songs don’t hang around long enough for you to work out what was going on, apart from the fact that they really feel comfortable with creating a ramshackle vibe.
There are moments of reflection in amongst the crazed sonic charges; Pig Cat is one a melancholy yodel, and Tattoo another, and given the way the record jumps from one idea to another, its needless to say they are markedly different in approach. Tattoo is a damned fine lo-fi pop song, reminiscent of Stereolab or Electrelane, (one of the band was in Electrelane so that explains that…). At times the band’s music has a feel akin to the Fall’s Live At The Witch Trials, and this is not just down to the spindly guitars. There’s a hermetic element to the sound, in that Trash Kit don’t feel like they’re looking to please anyone but themselves, and they seem to be more preoccupied with private feuds or observations: (Natascha and Gorey are examples that spring to mind). Gorey is a particularly fine track, especially with the added guitar noise at the end. Another cracker is Wolfman, which alternates between a mid tempo jangle and screaming. It’s all too short.