Somewhat minimal, Hogg's approach is a tough one. Not because it's harsh, but it's not always on point. While post-punk is generally enjoyable, I find it to be a catch all phrase for songs that are poorly structured or amateurly played. Unfortunately, I find Hogg to hit both categories. That's not to say there aren't any enjoyable tracks, 'cause there are. Overall, though, it seems slapped together, hastily rehearsed, and somewhat annoying. I know this will come across as misogynistic, but women get more of a break in non-traditional genres than men, and screeching vocals with Karen Finley-esque lyrics over dull bass riffs are seen as exemplary instead of somewhat maladroit.

Each side of the tape contains a track that shows Hogg's best efforts. "Dog" and "X-Ray Target" are pretty enjoyable and show what the duo is capable of. "Dog" is built on heavy fuzz and decent drum work, and help draw the listener into a head nodding haze. "X-Ray Target" uses a drum machine and heavy bass to elicit an industrial vibe inspired by the likes of fellow Chicagoans Big Black. Unfortunately, though, the rest of the sides get goofy and irritating.

While this may sound like a harsh criticism, it's meant constructively. I know the excitement to pick up an instrument (or whatever you're making sound with) and get something recorded. Sometimes, though, the output should be kept private until a higher level of competence is reached. Hogg is making a splash in their scene, so I could be in the wrong, but this album definitely missed the mark for me. A couple of tracks show promise, so maybe I'll check Hogg out again in a few years.