Headed by Cher Strauberry as the main vocalist and writer of the group, much of the beauty that forms around I H8 ME is the self-reflection of being trapped inside a scene of sound.
I H8 ME begins with “dysphoric,” a 40-second belligerent blast that gives the audience the first glimpse into Strauberry’s warped and feedback-ridden vocals. Describing, “I’m sick, I looked in the mirror. She’s broke. It’s only exterior, feels dysphoric. I’m not important.”
The microphone that Strauberry opts to use resembles a child’s toy with a concave dome grill. As the instrumentation continues to blitz and assault the ears, I H8 ME keeps this as a theme to stay relevant in the fist-pumping motion.
Stage diving crashes into the scene with “punks n jocks” as the 23-second long track pushes and pulls a crowd like a whirlpool. Strauberry asks, “Punks and jocks, what’s the dif? Pick me apart, makes you feel real big.” As Strauberry begins to howl, the instruments almost incorporate these bells to slam behind the vocals like a cutesy outlook to the mosh.
Later pieces like “trap” are outward-looking to what other people see, describing, “She’s a sissy, she’s a trap on a skateboard deck. She’s a sissy, she’s a trap, she’s a threat threat threat.” The track is again, incredibly quick and a hidden treasure of fast and aggressive performance. The instrumentation makes no trade for the lo-fi style and instead hunkers down with only three out of the 12 tracks reaching over a single minute.
The entire nine minutes and 53-second production is a punk rock short story that even in a live setting, is over before the fun becomes daunting. With Strauberry at the helm, the rapid-fire tracks force an audience to fall in love and then beg to be heard over and over again.