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7″ lathe limited to 33 copies with silk screened packaging & 4 page booklet
2013 PERDU

“Overkilmer/Some Girls” recorded at LMNOP & mixed by Denholm Whale


The new 7” split from WTCHS and Das Rad pairs two bands that harbour extremely powerful/instinctual sounds. In a recent interview with Jag of WTCHS I got a good understanding of something that I’d suspected for sometime. The approach and the product are genuine, through and through without a mote of misguided effort. They create music in a pocket universe that allows the band to toil with their “what if” effects and loops. Zero is the amount of outside influence. With each inspired release they explore and expose corners of that pocket universe via art, sound and the tangible release. JUNK’s art work continues to provide a visually familiar and surprising element that is now equally anticipated as the music WTCHS release.

WTCHS contribution to the 7” lathe is “Overkilmer/Some Girls”, a song that sees the band coalescing their previous sounds. Included are the barely buried guitars and howled Oooo’s that recall the Wet Weapons EP. These things are soon overcome though, as the voices become cavernous chants and the echoing percussive attacks begin. And nothing is the same from then on. Here are the noises of our dark interiors, inherent to humankind and rarely released. WTCHS celebrate the shadows and it is futile to reject it. Like “Overkilmer/Some Girls”, there is something off and sinister coded within all of us and if you continue to listen to WTCHS they will help you uncover and revel in such things.
These are songs that yearn to be heard live. Step out of line and join the cult. Accept that place to the side where these sounds engage your true nature. The feral one.
(Extreme Nonchalance)


Whether it’s seance-ready and black-pupilled or tempestuously insular, WTCHS make bonesaw punk that seems intended for a small, select audience. The title at “Overkilmer/Some Girls” hints at a precious song, but there’s a very real war happening, either with the self or something supernatural, and both are horrible options. Perhaps it’s the introduction that sets everything up so well, with cheery surf-rock sing-songing over Super 8 avant rock. Then it’s a one long slow left into an oppressive caterwauling stretch that bears down on you with a vulture’s appetite
(Chart Attack)

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