Description:	hand stamped OOP 10" on Stolen recordings, LAST COUPLE!!
	Format:	10" (vinyl)
	Genre(s):	Experimental Indie
	Label:	Stolen
	Price:	£6.69
	Availability:	In stock. Dispatched in 1 working day.

4
...according to our Phil on 09 February 2007.

A 10" on Stolen Recordings has literally just been delivered by the postie and landed on the turntable. This could sound like a Razorlight and Elton John collaboration and it would still rule. Why you ask? How could this be? Well it's because it's called 'DEATH EGG' yes 'DEATH EGG'. How's that for a fucking tile eh? Total genius. I'm smacking myself up for not thinking of myself. Not only does it sound good but it looks cool when its written and if you think about it it's a total contradiction cos eggs give life right. Onto the music then.... It's by SCREAMING TEA PARTY and kicks off with 'Let's Do Not Say Another Word' which is reminiscent of 'Teenage Kicks' but given a bit of a kick up the arse and has a nice raw feel to it. Then title track 'Cracked Up Dietrich' is a complete contrast which at times brings The Stranglers to mind and has a sweet female vocal. 'Shayou' is a heartfelt little ditty. This is a double A side which has just confused the hell out of me. Numbered of 500 in smart sleeve.

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What their label says...

Teresa was standing by the side of the road, her drum kit piled round her. She’d been kicked out of another band and was wondering what to do. A taxi pulled up, the window rolled down, Koichi leaned out “you in a band?”
So with Koichi Yamanoha on bass and vocals, longtime collaborator Koichi ‘Niyan’ Niizato on guitar and Teresa Colamonaco on drums and vocals; Screaming Tea Party was formed. The music is a clash of sound and culture- part Japanese noise band, part dirty pop. The band is based in London but come from Japan and Italy. Death Egg is their debut release on double A-sided 10 inch with ‘Between Air and Air’ and ‘Do Not Say Another Word’. The record is a limited edition run, hand stamped and numbered.
“Complex in their simplicity and a nexus of electricity reminiscent of Sonic Youth having sex with a bulldozer. Their soundscape ranged from tight melodies and lo-fi whinings to punk-o-riffic noise-o-rama. The vocals ranged from Mary-chain style murmurings, to screaming, the only way to be heard over those guitars. The guitarist briefly wore a gas mask which, once removed, started to suffer from guitar driven fits. The bassist and lead singer wore a long floral dress, which sounds completely normal. Right? Except he was a ‘he’. It looked like “Killzone” meets “The Sims”. The female drummer was easy on the ears - and eyes - with harmonious backing vocals, hitting those skins like a starving caveman demanding his lunch. All round a fabulous display of how a band can be completely original without sounding like a symphony of broken washing machines”.DROWNEDINSOUND
“A three headed beast of energy, their live shows are chaos and beauty. Tereasa with her mass of hair, and tiara glinting, thrashes her drumkit, punishing the cymbals, as the walls of sound rise and rise. Niyan, in his gas mask, bouncing on top of the bass drum, but his fingers never missing a beat or a note. And, Koichi, red lipstick running down his face, screams out in Japanese until the blue tattoo climbing up his neck bulges out,yet he still manages to look like every beautiful murakami hero. Then -calm and out of the ruins- the most perfect icy clear little song. Delicate and visionary, the front row are still and staring. The song is timeless and Koichi whispers his poetry, loving the microphone he had so recently abused.”LIVE REVIEW
“they switch continually between scribbling punkabilly and utterly stripped-down lo-fi, with magical results.”.ROUGHTRADE
“flits between brutality and sweetness like the two are intertwined –It’s the clown thing, the puppet thing, the fairground music thing, Darkness hides in the most unlikely of sources - evil finds a home most prominently within innocence.. there’s a cracking sickly/sweet hardcore scene seeping through thanks to the Japanese influence…The bass is rampant throughout and seems to lie there, under the music, not too prominent but spine-crackingly effective. Like a shadow observed beneath you when you’re swimming in the sea, it’s terrifying without actually doing anything.This is spot on. Spot the fuck on”MAPS MAGAZINE