It’s not every day you can hear an opening track called ‘Groomers’ and decide this is exactly the sound you need in your life. But Minneapolis punk-rock unit Spit Takes make a point to subvert the unexpected on LP Teeth, an eagerly anticipated collection of all their tracks since starting in 2023. With classic driving punk rhythms interlaced with pit-friendly breakdowns and a riot grrrl infusion of feminism and comedy without a single fuck given, Teeth latches on and draws blood from the first lines asking if the girls, gays and theys are ok.
This isn’t just a huge breakthrough celebration for Spit Takes though, as they release their LP through newly launched Whiplass Records, an independent community-driven label supporting promising femme punk bands in Minneapolis. Leading the charge of new wave no-fucks-given-punk, ‘Teeth’ highlights the dark moments that have pervaded the world, from a post-Black Lives Matter world that still has work to do, to the rising cases of ICE brutality, and to the ever-needed Me Too movements, with feminine rage energy and witty crudeness.
Teeth is stacked with VansAnn’s rich vocals delivered matter-of-factly that intensify on tracks ‘Hogwash’ and ‘Bootlick’ with scathing remarks on authorities that abuse their power. Every track is full to bursting with Charles Gehr’s searing drum beats to throw yourself about to on ‘Joyride’ during the chorus screams of “it’s called punk” and crispy drums on crowd-pleaser ‘Teeth’ drumming in time to VansAnn’s repeated calls of “chew chew chew you up and spit you out!”, while Monet Wong tears up punk riffs that chomp at the bit and bring fresh heat on ‘God Bless (Holy Tits)’ and satirical, self-exposing ‘White Girls’ laid over a catchy beat and lyrics of “live, laugh, love – this neighbourhood is kinda sketchy!”. When Angie Reed isn’t providing furious backing vocals, heard almost immediately on ‘Groomers’, she’s running the bass line into next week on ‘Ex-Triggers’ and playing a complementary riff to Wong’s guitar on ‘Gold Star’ before it fades into wind chimes.
There are two tracks that absolutely cement Spit Takes as a punk band to watch and both demonstrate their prowess in different ways. ‘Badass’ is the most dangerous sounding, mosh pit inducing track on the LP and has the most polished shine, well produced to show off each member’s talent and their cohesive sound as one. It’s a song to jump around to, shout at the top of your lungs, or enjoy a good dance to as Gehr thrashes at his drums, Wong and Reed keep each other racing down the guitar frets, and VansAnn showcases her range and attitude.
But if you’re not certain how this translates to a live show, Spit Takes have got you covered with the live version of ‘Get Off’ as the closing out track. It’s crude, hilarious, and a hearty dose of punk-rock, VansAnn connecting with the live audience before the track slams into overdrive. It’s a testament to Spit Takes that not only can they produce a cracking introduction to their sound through an LP but they bring all the energy and furious fun to their live performances too.
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