Lil White Bitch - Crack Up At The Funeral
LP
Lil White Bitch is an experimental music project out of Birmingham AL. Not entirely a band and not entirely a solo endeavor, the only thing it can be labeled is Lil White Bitch. The project’s third full length album, Crack Up At The Funeral, will be released digitally Easter sunday with a limited vinyl edition to follow.
"Crack Up At The Funeral opens with a mantra: Let Me Live! Pulsing with prismatic rhythms, every song generates movement. Feels like jumping up and down until ethereal substances start to swirl around. In many tracks the signal completely drops out in the midst of phrases, creating moments of total silence. Like a heart stopping then jolting back to life. Miniature deaths like these litter the audio field. Meticulous in its layers of interlocking percussion, voices & noises, the album is a continuum ever unfolding. Electronic charges emanate from an environment thick with spirit. Species you'll never understand, small organic matter, alien and precious. Hushed voices and pounding heart: a drummer's album for drummers who don't have any drums. Hyper-active soundtrack for tilt-a-whirl, evaporating into a cloud of pure feeling."
"...The moniker refers to a shadowy maybe-collective of two or more Birmingham, Alabama-based artists with a predilection for stop-start rhythmic tension that casts an unearthly glow over their mercurial breakbeat grooves. Crack Up at the Funeral, their debut for Sweet Wreath, heightens this tension to blockbuster-level drama. Tracks fizzle and warp between fragmented passages as though communicating over tin cans and string, dropping lines mid-inquiry to explore interludes that loop suddenly back to their starting points. A distinct off-kilter humor animates these compositional twists: “Cosmic Bowling” transitions between segments with a toilet flush; “Bumby” overrides its patient intro with a hard cut to a plodding MIDI bassline before upscaling into a beat anchored around a clammy, warbling synth moan. The album is propelled by roguish insouciance, harnessing the lurching adrenaline thrill of laying train tracks directly in front of its own wheels; every new measure is a rise, climax, and fall unto itself."
—Maxie Younger, Tone Glow
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LP
Lil White Bitch is an experimental music project out of Birmingham AL. Not entirely a band and not entirely a solo endeavor, the only thing it can be labeled is Lil White Bitch. The project’s third full length album, Crack Up At The Funeral, will be released digitally Easter sunday with a limited vinyl edition to follow.
"Crack Up At The Funeral opens with a mantra: Let Me Live! Pulsing with prismatic rhythms, every song generates movement. Feels like jumping up and down until ethereal substances start to swirl around. In many tracks the signal completely drops out in the midst of phrases, creating moments of total silence. Like a heart stopping then jolting back to life. Miniature deaths like these litter the audio field. Meticulous in its layers of interlocking percussion, voices & noises, the album is a continuum ever unfolding. Electronic charges emanate from an environment thick with spirit. Species you'll never understand, small organic matter, alien and precious. Hushed voices and pounding heart: a drummer's album for drummers who don't have any drums. Hyper-active soundtrack for tilt-a-whirl, evaporating into a cloud of pure feeling."
"...The moniker refers to a shadowy maybe-collective of two or more Birmingham, Alabama-based artists with a predilection for stop-start rhythmic tension that casts an unearthly glow over their mercurial breakbeat grooves. Crack Up at the Funeral, their debut for Sweet Wreath, heightens this tension to blockbuster-level drama. Tracks fizzle and warp between fragmented passages as though communicating over tin cans and string, dropping lines mid-inquiry to explore interludes that loop suddenly back to their starting points. A distinct off-kilter humor animates these compositional twists: “Cosmic Bowling” transitions between segments with a toilet flush; “Bumby” overrides its patient intro with a hard cut to a plodding MIDI bassline before upscaling into a beat anchored around a clammy, warbling synth moan. The album is propelled by roguish insouciance, harnessing the lurching adrenaline thrill of laying train tracks directly in front of its own wheels; every new measure is a rise, climax, and fall unto itself."
—Maxie Younger, Tone Glow
