- Jeff Miles
- Mar 1
- 4 min read
Updated: Mar 6
A Blaze in the Southern Sky: Die Spitz
The declining presence of rock in popular music elicits constant assertions of its inevitable demise. Its diminishing grasp of the public consciousness simply functions as musical Darwinism; purging mediocrity from our transitory musical landscape until a new brood emerges; angrier and more ravenous than the last, and ready to kick the world in the teeth. Enter Die Spitz. Any doubts as to the vitality of current rock can quickly be assuaged with one listen to their first full length album, Something to Consume.
Formed in 2022, in Austin, Texas, Die Spitz is a four piece that consists of Ava Schrobilgen on guitar/vocals/drums, Eleanor Livingston on guitar/vocals/bass, Kate Halter on bass/drums, and Chloe de St. Aubin on drums/bass/vocals. They often play musical chairs with their instruments as well as the microphone, which I imagine is as refreshing to the band as it is to listeners. Considering that they were formed out of boredom during the Covid lockdowns less than four years ago, Die Spitz have garnered an impressive list of accomplishments including two EP’s, several additional singles, a new full length album, tours in the States and Europe, playing Bonaroo last summer, and this summer, the Download Festival at Castle Donington alongside giants Guns N’ Roses and Linkin Park.
Die Spitz is often categorized as ‘fempunk,’ which, like most labels, does offer some basic introduction, but ultimately fails to do justice to the full range of their music. Lyrically, they embody a true punk ethos with themes of anti-authoritarianism, autonomy, consumerism, misogyny, apathy, and violence against women. Their lyrics are unapologetic, intelligent, rife with social insight and emotional depth, and delivered with uncompromising conviction. Outsiders believing in who they are, what they’re doing, and doing it themselves, will always be the core of great rock. Die Spitz manifest that spirit in everything they release.
Sonically, they are far more diverse than a three chord “one, two, three, go” approach often associated punk. Their love of Sabbath is apparent in the sludgy “I hate when GIRLS die.” That song alone has caused a stir in the DSSSM (Doom, Stoner, Southern, Sludge Metal) community. Their guitars are usually heavy, but not an overly produced or slick like many metal bands. It’s a raw sound; reminiscent of grunge or early PJ Harvey. Elements of alternative, emo, indie, shoegaze, and nearly every other rock subgenre are evident and may bring to mind Nirvana, the Pixies, Veruca Salt, L7, Babes in Toyland, Kylesa, Mazzy Star, the Breeders, Tool, and even Bauhaus. Ultimately, though, Die Spitz don’t really sound like any of those bands. Like the greats before them, they’ve consumed everything they’ve heard, filtered it through their own perspectives, experiences, and creativity, and regurgitated out a sound that is all their own; familiar, but fresh.
The Revenge of Evangeline EP was a stellar initial offering with its aggressive, visceral sound. A distinct growth in songwriting is apparent on their second effort, Teeth. Their latest release, Something to Consume, delivers a profound progression in technical proficiency, songwriting, and vision. Improved production and recording deliver a more accessible record without losing the edge of the previous releases. They seem to be discovering who they really are as a band and we are the beneficiaries. With eleven songs clocking in at 34 minutes, it is shorter that most albums, but contains no filler. As someone who regularly listens to Sleep, Big Brave, Neurosis, Windhand, and other bands known for twelve to fifteen minute songs with no choruses, Something to Consume is a welcome palette cleanser of driving two to four minute songs. Die Spitz get in, get the job done, and get out. Period. And, there is not one bad song on this album. Not one. Some tracks, like “Punisher” and “Down on It” did not grab my attention as quickly as the relentless metal stomp of “Throw Yourself to the Sword” or the anthemic “American Porn” did, but in recent listens I find myself playing those tracks multiple times in a row as this album encompasses an extensive range of sounds, emotions, and moods. The members of Die Spitz were probably infants when Tom Waits famously said, “I like beautiful melodies telling me terrible things,” but he could have easily been referring to the radio-friendly melancholy of “Punisher.” The dreamy haziness of “Go Get Dressed” compliments the apathy depicted in the lyrics. An ode to Hot Cheetos, “Red 40” is a clear shift in mood. The title derives from the synthetic food dye which gives the aforementioned snack its defining color. “RIDING WITH MY GIRLS,” their most Motorhead-esque track, is a full throttle musical assault while the lyrics celebrate their friendship and solidarity with each other.
I always appreciate when rising bands strive to create videos that enhance and elevate their music.
The narrative in “Punisher” compliments the longing and frustration in the lyrics until its surprisingly violent end. The sinister “I hate when GIRLS die” pays homage to David Lynch’s Twin Peaks, adding a cinematic element without diminishing the impact of the lyrics. “Pop Punk Anthem (Sorry for the Delay)” and “RIDING WITH MY GIRLS” are more performative with a healthy dose of humor which is always needed in hard rock. The balance they achieve between the gravity and levity in their music and personalities indicates that even in this early stage of their career, they have already learned one of the most important lessons, not just in music or entertainment, but in life –Take your work seriously, but not yourself. That alone suggests that we have yet to see the best from Die Spitz.
Die Spitz and quickly gaining a reputation for one of the most energetic live acts around. You can get a taste of this from their in studio performance at KEXP in Seattle. I’ll find out for myself when their nearly sold out tour comes to Atlanta’s Masquerade in late March.
A Blaze in the Southern Sky is a new column established to highlight emerging artists. Die Spitz is the first to be featured.
Comments