And true to her word, she cuts right down to the bone across the album’s 15 tracks, living and reliving her traumatic experiences with assault and misogyny, processing fragments of trauma in laboured screams and audible gasps, pursuing anyone who’ll listen.
In an interview with The Guardian, guitarist Tyler Paterson likened PISS’s instrumental approach to “scoring a film” starring Zantingh, situating her voice against what the band describes as “a centuries-long conversation about gender-based violence.” As such, these tracks are as confrontational as can be: mostly two minutes or shorter, constructing and deconstructing noise-rock soundscapes at the pace of a post-traumatic flare-up.

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