Historically the seven inch format was probably kept alive in the '80s by the punk rock EP. It could be pressed for a lot less than an entire album, you could easily xerox a black and white sleeve as you needed them and with the brevity of the genre's tracks it especially didn't make sense to have a twelve inch with two hundred songs on it. It was even great for the audience who could pick up a single at a show for a few bucks to see how their stuff translated in the studio. The Bad Daddies out of Northern California released this six track EP in that ongoing tradition of DIY and minute long tracks that
A-Side's "Dominique Strauss-Kahn" starts out with shrieking feedback and massive thuds from a rehearsal space room, this is exactly the kind of way this track should be delivered about that scumbag, fast and furious.
"Regress" - more feedback to differentiate the tracks and Camylle on vocals has me thinking about Kathleen Hanna and if riot grrrl is a dirty word today but I still think there are some of the same issues still. Camylle is quick and precise jutting into those spaces these guitars are leaving behind. This track even has time for a solo or bass line groove for a minute, weird and warm. More of a melodic punk, the pieces are falling together, not apart.
A bass line from Rachel opens "To the Limits" with shrill distortion. More feedback when this pauses, like the Minutemen they have a compact statement, this is how this one goes and it's simple, one verse - done. Move on next track. That bass leads to a harsh guttural distortion and slappy drums with a live practice room space sound with direct line in guitar, the only way to DIY. A weird rhythm structure here that isn't the usual hardcore.
On "Short Sale" Camylle is close up in that mic blowing it out a little front and center in this mix, yelling herself hoarse, like White Lung or Mika Miko. The rougher sounding stuff driven by emotion and that reaction to something. "This Is How It Ends" has a rough lower end guitar and the bass is even thick on this one with a balanced sound here that goes pop punk, the best track on the side for me because it's easily catchy bursts of punk.
B-Side's "If I Gave You A Party" this smooth groove fades in and Matt is getting into the melody of this at first then getting rowdy with the guitars blowing out in this cover of Sexual Harrassment's track. Sighing because it's obvious that this party is taking a lot out of them. Sounds like it would be frustrating organizing all of that attention and then it's a massive disappointment and frustration. Even more that last word might have a double meaning in the way it's delivered here. I appreciate they took a minute to cover a track from someone else I'm going to have to check out getting into their range of actual punk feelings.
Tons of inserts and tiny stickers, a great package with a lot of detailed elements just like these tracks. Not rushed out blastcore, they have a brief message and get it out. Why take the sentiment about a french IMF rapist and draw it out into a 6 minutes when you can cut him off at the knees like this right away. On Central District Records or their bandcamp page.
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