‘Hit Rendition,’ the Newest Petridisch LP, Is a Bifurcated Dreamscape

Not too long ago, Kittysneezes debuted the video from the Fish Prints reissue of the Nelories‘ debut cassette. What didn’t get mentioned in there is that the head of  Fish Prints has his own project, Petridisch. Petridisch just released their latest album, Hit Rendition. Recorded at home in two different sessions, Hit Rendition takes advantage of the vinyl and cassette formats to split the experience into two different sections.

The first side is the “Hit Rendition” suite, made up of eight parts — seven sections of “Hit Rendition” and a cover of “Arcades (of Glass)” by News of Babel. This side is more sample-based and electronic sounding. The B-side of the LP is guitar-driven, and a bit brighter and lighter in sound and mood.

According to Petridisch, side A was recorded using vocaloid. Petridisch says, “Thematically in the music of Hit Rendition, there doesn’t seem to be much going on, other than ominous heres and theres.” According to Petridisch, the A-side also has its own color palette: “On the A-side, I saw colors: pinks and blues.”

The A-side feels darker and, yes, ominous. “Hit Rendition III” in particular has a Residents-vibe to it. While the visual album — embedded below — has a vaporwave aesthetic (or, I suppose, VΛPORWΛVΞ aesthetic), the music itself doesn’t really. It’s closer to ambient or darkwave. While dreamlike, side A doesn’t quite tip into a nightmare, but it feels like it could threaten to at any moment. Creepy, yes, but not necessarily sinister. The tone is more about the unknown, rather than the outright dangerous.

While the B-side is overall brighter, the opening track, “The Great American…” actually does have a sinister vibe. Petridisch says “The B-side though is an homage to the road, travel, trains, and new America (ugh).” The travel theme is surprisingly clear, as though the second side starts darker, it gets more and more hopeful as the album continues. “The Locomotive” has a similar driving beat as “The Great American,” but this time, it sounds friendlier. Not unbothered — but friendlier.

As mentioned, the B-side is guitar-driven, but not necessarily how you’d think. Petridisch says that though this side was recorded on guitar, “I will disappoint many people, but I programmed a guitar to do things!” So, no, it’s not aimless noodling. Honestly, one of the best touchstones for this half of the album is the KLF’s seminal ambient house album Chill Out, and tracks like “Elvis On the Radio, Steel Guitar in My Soul.”

Despite the difference in core instruments, both sides of Hit Rendition form a cohesive whole. Given the themes, the album would be great for a roadtrip, though at 29 minutes, the album doesn’t overstay its welcome. It’s dreamlike, yet tight.

It’s also devoted to a good cause. Petridisch says, “The label co-releasing the album, Grimalkin, is a queer-focused label. For their releases the artist gets to donate to a local organization with their profits. I chose Fenway Health, a local LGBT+ health center, ’cause they’re super rad.” So getting a great album and helping a great organization? Who isn’t on board with that?

Watch the Hit Rendition visual album below:

Hit Rendition is available via Fish Prints and Grimalkin Records in a variety of formats, including digital, cassette, scented lathe-cut LP, and limited-edition minidisc. All proceeds from the cassette, digital and minidisc editions will go to Fenway Health.

Kittysneezes is supported by readers like you. If you enjoy what you’ve read here, please consider supporting us on Patreon, on Ko-Fi or via the Kittysneezes Boutique. And remember to check out our brand new podcast, Rite Gud!