Debut album from punk band Lambrini Girls
Credited with writing and drums
Bio: Who Let the Dogs Out received widespread acclaim from critics. According to review aggregator Metacritic, the album holds a score of 83 out of 100 based on 17 critic reviews, indicating “universal acclaim”. The album received positive reviews from Petridis, the Financial Times, When the Horn Blows, Pitchfork, The Soundboard Reviews, Beats Per Minute, DIY, The Arts Desk, Kerrang!, Clash, Rolling Stone, Dork, NME, AllMusic, Narc, Classic Rock, Louder, The Skinny, and MusicOMH, though Sputnikmusic gave it a negative review. Initially forecast to chart at No. 3 on the UK Albums Chart, the album instead made that week’s listing at No. 16, and made No. 2 in the Independent Albums Chart and No. 1 in the Rock & Metal Chart The album subsequently appeared at No. 15 on Rough Trade’s Albums of the Year list and won the HERcury Prize.

“Don Enzo started life as a demo that Looker (Jack, Guitarist) cooked up after the bulk of our touring was done at the start of the year. It was originally just the first part of the track, what we’re calling the first movement. After I’d written and recorded some lyrics for it I sent it back to him to get mixed and then he sent it back to me again with an extra 5 minutes of music on the end. This is the genesis of the 3 movement structure and it forced me to think outside the box while writing lyrics. I already had the first part which came from my frustration of the AI art news that was the hot topic at the time. For the second movement I decided to embody the personified AI character that I’d created in the first movement. The final section was to be the last gasp of real art before it’s inevitable implosion under the weight of AI slop. I hope that’s not what actually happens, but also I’m not optimistic.” - Vocalist C. A. Francis

Per vocalist C.A. Francis, DITZ’s new nine-minute song “reflects my frustration with AI art - the first part reacting to the issue, the second written from the AI’s perspective, and the final section representing the last gasp of real art before being overwhelmed by artificial output.” It’s fitting that “Don Enzo Magic Carpet Salesman” is so epic and unpredictable. It’s pleasingly bizarre, but not in that uncanny way we’ve come to expect from the machines. It’s exactly the sort of track that only human beings could come up with. —Chris Stereogum - https://stereogum.com/2476013/the-5-best-songs-of-the-week-602/lists/the-5-best-songs-of-the-week

View this post on Instagram

“Don Enzo started life as a demo that Looker (Jack, Guitarist) cooked up after the bulk of our
touring was done at the start of the year. It was originally just the first part of the track, what we’re calling the first movement. After I’d written and recorded some lyrics for it I sent it back to him to get mixed and then he sent it back to me again with an extra 5 minutes of music on the end. This is the genesis of the 3 movement structure and it forced me to think outside the box while writing lyrics. I already had the first part which came from my frustration of the AI art news that was the hot topic at the time. For the second movement I decided to embody the personified AI character that I’d created in the first movement. The final section was to be the last gasp of real art before its inevitable implosion under the weight of AI slop. I hope that’s not what actually happens, but also I’m not optimistic.” - Vocalist C. A. Francis

Per vocalist C.A. Francis, DITZ’s new nine-minute song “reflects my frustration with AI art - the first part reacting to the issue, the second written from the AI’s perspective, and the final section representing the last gasp of real art before being overwhelmed by artificial output.” It’s fitting that “Don Enzo Magic Carpet Salesman” is so epic and unpredictable. It’s pleasingly bizarre, but not in that uncanny way we’ve come to expect from the machines. It’s exactly the sort of track that only human beings could come up with. —Chris Stereogum

Credited as co-writer and guitarist on the title track None of Us Are Getting Out of This Life Alive (Featuring Idles) and also featured in the promo documentary by Noisey/Vice

https://en.wikipedia.org/wiki/None_of_Us_Are_Getting_Out_of_This_Life_Alive

‘God’s Country’ steers away from shyness with its hefty guitar riffs, dropping straight into savage punk with a rhythm reminiscent of 90s grunge. Phoebe Lunny’s vocals tell you how it is, direct and bold, as they smash your face against inequality, hoping to make some sense out of it all. ‘God’s Country’ calls out the far right, challenges the government and tells the realities of food banks and hardships that many face in the UK. Clunk Magazine - https://www.twine.net/signin

There is a poltergeist lurking within the Brighton quintet DITZ’s music. At first, it’s a creeping unease: guitars that panic like an unscheduled alarm, bass that feels like unseen eyes stalking you. Then it evolves into annihilating chaos: vocals teetering on sociopathy and drums as relentless as landmines. Since forming in 2015, DITZ have honed their craft of ominous tension. Where their debut project EP1 is devolved noise, like a haunted house hell-bent on ridding itself of any unsuspecting family, their forthcoming album Never Exhale is a more exacting brand of sinister. It’s an escalation in possession years in the making. - Margaret Farrel, Stereogum https://www.twine.net/signin