Shit and shine: Le Grand Larance Prix
Riot Season (2012)
Shit and Shine are one of those bands that you don’t hear about a great deal. They drift along under the radar, going about their schtick, bouncing around in fucked up bunny masks, beating Black Sabbath riffage into Krautrock sculptures. They can ride a single idea for 25 minutes and somehow not be boring. They push boundaries without ever losing their sense of humour. Shit and Shine are one of those acts that only a handful of people listen to today, but which music kids of the future will be namedropping in interviews with Pitchfork.
For now, they’re just doing their own thing and being picked up on weirdo blogs and left-of-centre magazines. Le Grand Larance Prix is a cd reissue of a vinyl release and it ain’t your typical Shit and Shine record. Dare I say it’s their ambient record? Bass heavy chug has been abandoned for samples and synths, a loop-filled remix of their signature racket. Switching 2 Night Mode sounds like a party of forgetful stoners unaware the needle is stuck in a scratched groove. Typical of Shit and Shine’s perverse humour, the funky bass and dance-friednly 4/4 rhythm is erratically smashed up with blasts of distorted voice spruiking banal party tropes. “I can dig it!” Elsewhere, French’s Automotive is a meditation on Oneohtrix Point Never’s synthesized world ; How to Rattle a White Tailed Buck takes the stunted beats of Autechre down into a deep, dark k-hole, and the record’s closing number Klipp is a cute little homage to Nue! the pioneers of Krautrock.
It’s a diverse and sometimes challenging listen but is Le Grand Larance Prix any good? Yes. Yes it is.
Shit And Shine: 229-2299 Girls Against Shit
Riot Season (2009)
This record makes me feel dirty, sleazy, slimy and hyper-masculine. There’s something about its rumbling low-end pulse that makes me want to strip off my clothes and molest inanimate objects. It has no fear or morals, and no objection to degrading itself. And it’s fucking awesome.
Shine and Shine come from London and Texas, two diametrically opposed cultures that crash together in an explosion of blown-out drums, weirdo electronics and heavy metal histrionics. Their live show features multiple drummers, and rhythm is just as important for them on record, where every single fucking noise they make is incorporated as some sort of percussive element. It’s all propulsive drums and repetitive heavy-as-fuck riffage cloloured with dabs of miscellaneous scree. Its hooks rarely lead anywhere, instead they ramble on and on, dragging the listener into some sort of ecstatic state.
The density of Shit and Shine’s sound is occasionally filtered through random samples of geezer-like conversation – it’s never clear if these come from the band themselves – which give the whole thing the feel of a drug fueled ritual. If there are actual vocals somewhere on this album, then they’re so distorted that identification is impossible.
With song titles like 13 Hotel Denmark (You 3 Ass, Pussy, Blow) and Pissing on a Shed, these guys approach their schtick with a definite sense of humour. But don’t let that fool you into thinking Shit and Shine are just another bunch of kids taking the piss out of their bedroom instruments. While it might sound like a jam, 229-2299 Girls Against Shit is meticulously constructed to grab the listener by the balls (or tits) and drag them over ear-splitting highs and menacing lows. These boys are pursuing the very outer realms of rock n’ roll and like I said, it’s fucking awesome.