Bitchin Bajas began this year 2010 like a single side task for Cooper Crain, guitarist of Chicago Krautrock revivalists Cave. The first noises of Bitchin Bajas had been similarly psychedelic but decidedly much less intense than Crain’s main band, deciding on even more textural exploration than rhythmic power. The task quickly became prolific in its discharge of music, you start with the Shades & Areas full-length this year 2010 and trickling out divide singles, EPs, cassette-only produces, and so on among even more actualized full-lengths each year that implemented. The single project was extended to a duo using the inclusion of Mahjongg’s Dan Quinlivan, adding even more synth and electric guitar textures to Crain’s internet of spectral audio. Rob Frye, also of Cave, ultimately joined up with Bitchin Bajas, adding flute, saxophone, and electric guitar. Albums documenting the group’s advancement arrived frequently, with 2011’s Drinking water Wrackets, 2012’s Vibraquatic, and 2013’s even more fully noticed Bitchitronics. Although band got either self-released its music or caused a number of lesser-known indie brands, Bitchitronics came on indie large Drag City. Another season, a self-titled dual album materialized, viewing the music group branch out into even more sprawling areas of sound over its eight-song and nearly-80-minute running period. 2015 noticed the discharge of Transporteur, a shorter LP around the French label Hands at night. 2015’s Automaginary noticed the group collaborating with fellow Chicago spell-casters Organic Information Culture, and 2016’s Epic Jammers and Fortunate Small Ditties brought Bonny “Prince” Billy along for the trip.