Leave it to Birthing Hips—a band that’s spent its brief but brilliant lifespan aggressively hacking away at their instruments in search of the latest channel for their absurdist wit—to announce their new record and their demise on the same day. Heartbreaking as it is, it’s somehow fitting that their two-year run would end on such a bittersweet juxtaposition. Their songs are thrilling, violent collisions between contradictory forces, the musical equivalent of a crash test (minus the airbags and seatbelts, of course). Even on stage, you could sense the giddiness radiating off of them as they sent the heads of their devoted audiences flying. For those lucky enough to have witnessed Birthing Hips’ rare, comet-like journey through the universe, as well as those who might have missed the memo, their NNA Tapes debut, Urge to Merge, is as close to a perfect parting gift as they come. Theatrical, uncompromising, frighteningly technical, and majestic, it documents the fierce, innovative spirit of the Boston quartet at the very height of their prowess.
By the time their first, self-released tape came into being, Birthing Hips had long-since planted themselves in bold territory. The aptly titled No Sorry was an unapologetic noise-pop rampage, alternating between winking bubblegum hooks and blocky, dissonant breakdowns. But the newer tracks in their live repertoire had a tempered directness, compacting their ferocious capacity for rocking out into tightly coordinated passages while showcasing an expanded theatricality, courtesy of vocalist Carrie Furniss. Urge to Merge features renditions of these tracks that shimmer with a meticulous, well-deserved clarity that highlights both their technical skills and their easy accessibility.
“I Want This Place Impeccable” magnifies the daily drama between a messy roommate (deadpanned to excellent comedic effect by guitarist/vocalist Wendy Eisenberg) and her clean-freak counterpart (played by Furniss with just the right amount of screechy mortification) into a multi-part epic. Funnier and funkier than ever, it’s sure to bust your gut as much from the campy exchanges (“Why don’t I just roll you across the floor and drag your schlubby ass across the dust?”) as from the bone-shattering fills between them from drummer Owen Liza, who strikes a crisp compromise between Brian Chippendale’s frantic sticking and John Bonham’s classic rock stomp.
Make no mistake, the Hips are still firmly locked into noise-rock mode here; these songs tend towards the frayed and frenetic, like on “Shut Up and Leave Me Alone,” where Furniss reclaims her righteous anger “even though I am Midwestern” alongside a jazzy, aquatic groove. “Internet,” meanwhile, features Furniss freaking out in stuttered vocalizations of “You’re ruining, ruining, ruining, ruining, ruining my life!” over titanic riffs that sound like a partially melted Led Zeppelin record. Even when they do drift into calmer waters, the other, heavier shoe is never far from dropping. Closing track “A Wish” is probably the quietest Birthing Hips piece yet, but for all of its '50s pop trappings, they can’t resist a skyward climb into a shrieking post-rock meltdown.
At their very best, Birthing Hips danced with glee on the knife edge between madness and inspired tunefulness, and Urge to Merge delivers both in spades. But even with the coda to their hysterical surrealism in our hands, making peace with and sense of the fractured “defective pop” brilliance that they created is a long time coming.