There is an argument to be made that ShitKid was the most interesting band in the world for a spell. If you know ShitKid, you will understand. If not, here we go.
ShitKid, the name an anglicized homonym of a Swedish folklore boogeyman, is—was—Åsa Söderqvist. In 2013, the then 21-year-old Swede put out her debut LP Fish on the indie Stockholm label, PNKSLM. The songs had been recorded in a studio, but, at the last second, Söderqvist pulled the plug on these versions because they were, to her ears, too glossy and shiny. This is hilarious when you listen to these rejected versions which were released on December 1, 2023 in celebration of the ten-year anniversary of the LP that became that small label’s biggest seller ever.
Perhaps we are in an era of again over-polishing songs to a glaring sheen, because even these versions sound refreshingly lo-fi as hell. The original Fish Söderqvist re-recorded on GarageBand in her car, where she likes the acoustics. It is how-lo-can-you-go-fi.
PNKSLM brags that “Fish received both the best and worst reviews we’ve ever had on the label!” It is one of the great rock albums of this century.
In 2019, ShitKid released [DETENTION] a themed set of eight songs glorifying high school love and bad behavior, like she was thinking ‘I’m going to fuck around and make a great Runaways album’ and did it. Söderqvist has a bratty voice and she does this thing where she swallows the ends of her words that is inexplicably endearing. The album is fantastic, the song ‘Last Mistake’ an all-timer.
She followed with Duo Limbo, featuring phenomenal cover art and five heavy songs and then those songs again, this time sung in Swedish, because why not? ‘Get jealous’ is a song I listen to again and again.
The “world” started to take notice. ShitKid was tapped by legendary Washington sludge merchants the Melvins as an opener on tour. An appearance at SXSW was scheduled. Söderqvist said the band would do a different genre with each new album and released the band’s “pop” album 20/20 ShitKid. A screamo album was promised. Indie stardom beckoned.
Then the supporting gigs ended prematurely with a dispute over what Söderqvist perceived as sexist promotional art. Covid wiped out SXSW. The “band” released a ‘clean out the archives’ set of songs in 2021 (Sort Stjerne!) and disappeared into the Scandian tundra.
Rejected Fish is wonderful, of course, and I will have to make do with it. “Baby are you out of your mind? You’ve never seen a girl like me” Sundqvist repeats in the opener over spare keyboards and drum machine. That’s for damn sure. Then the album kicks into the Olivia Rodrigo meets The Stooges songs ‘Sugar Town’ and ‘Alright.’ ‘On A Saturday Night At Home’ grooves to the joys of staying at home to listen to Green Day. ‘Tropics’ is finger-snapping warped doo wop; ‘Dirty Guy’ and ‘Trädgården soaring grunge anthems. Every song is pure and guileless, exhibiting a simple musical genius and an ultra-DGAF attitude. Åsa would charm your grandmother and steal the silver spoon from the rice pudding. A delinquent with a heart of gold.
This is a band that sounded both ahead of its time and born too late. 100 gecs are rightly put in many “best of” lists of 2023. I love that stupid shit. ShitKid was working with a similar palette, but smarter. It’s maybe more like if Water From Your Eyes were old Weezer fans. Imagine how much better they would be. That’s ShitKid!
I feel like if this album had been recorded in 2023, it would have been all over every top 50 list. But, you also could have released it in 1983 and ShitKid would have been opening for the B-52’s. I guess that’s a long way of saying this album is a classic and you should listen to it, either version. Both preferably. Rejected Fish is a new release. It is one of the best albums of the year just like Fish was one of the best of 2013.
I think about Åsa Söderqvist, now 32, and what she’s doing now. She only has the faintest of digital footprints after 2020, giving no clue as to what she’s up to. I hope it’s fun; I’m sure it’s cool. Skål, ShitKid.
Words by Rick Larson
