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Epic Fits


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Album Review

Have pity on any poor canines unfortunate enough to live within a three-mile radius of PRE's practice space. On Epic Fits Akiko Matsuura yelps piercing shrieks with a high-pitched desperation, shrill enough to wound the eardrums of anyone capable of hearing that upper register. Comparisons to Yasuko Onuki are inevitable, but consider this a raw, noisier version of the adrenaline-charged Melt Banana. With a dedicated adherence to atonality, the music is potentially even more crazed than the aforementioned spaz-masters of punk, if that's possible. Epic Fits couldn't be a more fitting title for a sweltering, fractured album that seems nearly capable of inducing a seizure. John Webb relies on the art of dissonant anti-chords and angular licks as he chops his fuzzed guitar like a manic Thurston Moore foaming at the mouth over raging tempos that are sporadically interspersed with sudden disjointed pauses. The racing stutter is reminiscent of an auctioneer talking as fast as possible with deep breaths intermingled between the sentences. Tracks specialize in pushing the listener's limits often to an exasperated defeat, left only to sigh in relief at the song's end. It's an amazing feat of willpower to tolerate the seemingly endless cyclic repetition of the psychotic bassline and grinding guitars in "Scenes from a 1963 Los Angeles Love-In." The unyielding severity reaches its climax in a 35-second whirlwind cover of Half Japanese's "Ride Ride Ride," which transitions into the opening drum roll of "Know Yr Teachers" and riotous screams of a mantra from hell, "It's not okay!" — of course, this isn't a definite lyrical translation, since it's nearly impossible to understand what Matsuura is screaming. Song titles "Ace Cock" and "Dude Fuk" indicate that the content is not for the faint of heart, but this should come as no surprise when the entire mood is wild, off-kilter, and insane. Their goal of taking no wave to the most brutal level of intensity is achieved and exceeded with virtuosity, and this disc illustrates that this group is an up-and-coming powerhouse in the genre. It's quite a feat to create this much tension and to challenge the audience to such an extreme level in such short bursts. Quick precision is the name of the game, doused with reckless abandon and then set on fire, resulting in 20 minutes of music that could very well feel like the longest 20 minutes in history. If you can sit through the disc, the result can be rewarding; then again, music like this really isn't made for sitting.

Customer Reviews

A movement? An essential album.

I'm no investigative journalist, but all of these candy-coated hardcore noise bands are starting to form a fresh, but spastic and unpredictable movement. I'm not going to go so far as name it, but just look at PRE's myspace (If you're undecided on buying the album, you can see PRE doing their thing live, which is a real eye opener) I'm going to range it from the spaz-techno-orgy of HEALTH to another of PRE's friends, Ponytail, who is the poppiest of the bands in this genre, at least as far as I have seen. I'm not going to classify anything. God knows, that always ends the party, but I'm just casting my eye over all of these bands as something to follow. Most importantly, this put's PRE's music, quite ironically, in some sort of reasonable context without having to bring out my extreme-tastic musical metaphor descriptor system, (fyi, Keex... or somebody, stated the band sounds like a rabid otter... or something look up the video) which really just alienates tentative listeners. PRE is both heavier than Ponytail, but more accesable than HEALTH, even, in a way, combining the two techno-hardcore energies into one rabid otter monster which spread's its infection with the opener, "Drool" which was (in my twisted little reality) the single of 2007, if it had been a proper single... which it wasn't, and shouldn't have been. It sums up PRE's hybridization quite nicely, bringing in The Exceedingly Good Keex's delightfully out of tune whine, along with an octave riff coming out of a scratched 80's dance record really breaks into it's own vein, and kills a pop star in the future. The chorus gives you the thunder, as PRE's twin bass pummel and sadisticly wrenching guitar tears at an open wound. But you like the pain, and you're left drooling. Other highlights include SCENES and POPPING SHOWERS most noteably, but every song on the album really rubs in the right way. PRE is far too... PRE to wear on your nerves. The first time I listened to the album, all the way through, I immediately said to myself "Holy S**t." I hadn't even gotten my Bad Brains and Black Flag EP yet. I was just touching on Nirvana, and early Pink Floyd, and MAYBE Melvins. And I didn't like Melvins. The point is... I GOT it. I thought, at the time, that I had found heavy music with texture, that wasn't dirge-like or boring as f**k. I hated (hate*) hardcore metal, and thought all really heavy music (besides Black Sabbath and select others) was just ripping off Black Sabbath, and select others. But PRE blew be away. It was melodic, in a haze of atonal burn and screech. The little melodies in between chirpy verses (Popping Showers) were doubly effective, and beautiful in their own way. WHY WOULD YOU GO (TO SOMEONE ELsE's SHOW) It's embarassing. Buy it if you've been lost in the dark woods of modern music. (Next: Ex Models, Pixies, Lightning Bolt ((love/hate relationship with them)), Minor Threat, S***m Javelin, and a bunch of other awesome s**t. I'm so eloquent.)

Some awesome stuff here!

I think this is a great first album by Pre, and I can't wait to see them live, hear more stuff from them, and I can't wait to see what crazy loud tunes they're going to pump out next. Dude Fuk is their best song, although all the songs on this album rock.

Buy this,

or face the wrath of ignorance.


Formed: England

Genre: Hip-Hop/Rap

Years Active: '00s

After abandoning their previous vocalist and their former name, the London-based no wave noise-rockers PRE formed in 2005 with animated singer/shrieker Akiko Matsuura, a daredevil known for taking the stage in only her underwear and falling down face first. Her unorthodox spastic antics and vocal style worked well with the band's thrashing song shards and atypical lineup of two bass players, a drummer, and guitarist. Only a few months after PRE's first show, they released their debut EP, Treasure...
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Epic Fits, PRE
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