Immerse yourself in the off-kilter, exhilarating world of TACOBITCH with our latest In Five.
Trying to succinctly describe TACOBITCH feels like something of a momentous task; where to begin with their hyper-charged, indefinable sound, dynamic dance moves and expressive drag visuals? They’re one of those acts whose world you have to delve headfirst into to fully understand the amorphous, eclectic creative entity they embody. Yet simultaneously, just from their impactful name you get a slight idea of the strange, mind-bending realm you’re about to enter into.
‘Stitch Face’, the Norweigian collective’s latest single, is an abrasive, warped and heady trip. Pounding techno beats sustain throughout as distorted gurgling vocals, robotic samples and an onslaught of frenetic electronics merge, all skewed with a punkish fervor. A multi-disciplinary project, the physicality of TACOBITCH pervades and is inextricably intertwined with the music, and there’s a certain visceral, ritualistic feel to ‘Stitch Face’.
“Our agenda has been to completely merge music, dance and costume visuals into new exalted practices and expressions” TACOBITCH explain. “We see it as musicians being dancers and dancers being musicians, we don’t see ourselves as separated performers – and if people who experience us have a lot of fun and leave with some unanswered questions, we’re happy.”
With their debut EP Humani due out this August, we caught up with TACOBITCH to find out five influential tracks.
Focker by Late of the Pier
…is an important song for the group. It is not only a killer track from the somewhat mysterious group, Late of the Pier, it has become a ritual track we’ve been playing to get hyped before doing shows. It is worth mentioning that I (Fenrik Fromage) have been obsessed with the lead-singers newest album GENE (under the name LA Priest). Check it out if you’d like.
Samaritans by IDLES
I (Zorban Zorbé) have gotten really into IDLES during the past year. I really like the way they sing (and talk) about a lot of important stuff with an angry and violent sound, but in a non-violent way (if that makes any sense). One of my favourite tracks from their second album (Joy is an Act of Resistance) is “Samaritans”. It’s a great track about toxic masculinity. Between all the shoutings about “manning up” and “sitting down”, the lyrics might also be a tribute to other familiar lyrics, putting them in a new light. For example, “I love myself, and I want to try” can be an homage to Nirvana’s “I hate myself, and i want to die”. I think that’s really cool, and important.
Genesis by Grimes
Grimes’ unique sound is truly inspiring and utterly mind-blowing. This is the type of song you can put on repeat for an hour without getting bored. It actually helped Menski Penski through his first full marathon, which he was not prepared for at all. Hot tip; start by running a half marathon.
The Illuminator by Mad Mike
I (Shere Khan) first discovered this track when I saw a dance piece called CROWD by choreographer Gisèle Vienne. The piece was basically a depiction of an outdoor rave in slo-mo and this track was the perfect opening track. Made by Detroit-techno legend Mad Mike in 1996, it still sounds fresh today (and every other day) and reminds me that techno is joyful.
Stay Out Here – Shaken-Up Version by The Knife, Shannon Funchess and Emily Roysdon
And this track reminds us that techno is dark! Its presented as a demonstration song during the live performance of it and if it is one song that that can turn techno to activism, it is this one. Shannon Funchess voice bends between hyper-feminine and hyper-masculine and Karin Dreijer is Karin Dreijer (perfect), while the drums and the bass chase each other. It’s one of these, you know, when techno sounds like its chasing something. If you’re looking for political, pop sensible, heavy techno; this is the one.