BITCHES have been known to call their music ‘thug-pop’, others have plumped for ‘anti-love songs’, ‘chaotic sonic can-vases’ and cited comparisons to Minor Threat and Black Flag, Huggy Bear and Lightning Bolt’s more riffy material. Nevermind the tags and kooky descriptions, the power of BITCHES’ music lies in Blake Ivinson’s screams and ultra-fuzzed bass; or in Stacey Owen’s chaotic, heart-in-mouth drumming and agit-yelping; and in the incredibly pleasing sensation when you realise that, yes, they have sardonic and punked-out songs about vampires, R. Kelly, and losing one’s wallet. In short, if you have ever had any interest whatsoever in punk/noise music, anti-social volume, and the combination of the two, Bitches are a pure joy to experience, live and on record.
For all the noise they make, BITCHES are a two-piece. Both Blake and Stacey spent time in Oxford bands (The Walk Off and Harlette respectively) before becoming London-based and writing together (the two are a couple, and as Blake explains, were “[hanging around] together anyway.”) Previous releases have mostly been on tapes, by labels like Deathbomb Arc, Scotch Tapes and Isolated Now Waves (a split with Shearing Pinx), or they have been self-released like the ‘Winner’ 7” (their full discography can be found at their website, www.peaceandbitches.com).