Some stuff and things from a boy who should almost certainly be doing something else.
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Kleenex/Liliput played with the possibilities of freedom; they practiced freedom as play. From one point of view, each of their singles can sound like a manifesto; from another, like a mud fight. These people were interested in noises they had never heard on record before, interested in words without apparent meaning, phonemes, language from the beginning. You can imagine that every time they went into the studio, they asked one question: if we can say anything, what do we want to say? How about “Whhhyyyrrr”? If not that, perhaps “Wheeep”? The songs were about autonomy and pleasure, verbal nonsense and emotional facts, comradeship and isolation, resentment and pleasure, avoiding rape and getting drunk, city streets and feminist pride: fragments of everyday life thrown together with determination and abandon. There is no analogue for this music in the records of any other pop group. To find a real match for its spirit you have to go back to the Berlin dada collages of Hannah Höch: from 1918 through the twenties she cut women’s heads and bodies out of newspapers and magazines, cut them up again, pasted them together as grotesques, and somehow put a twinkle in the eyes of every strange face. You can hear it happen in “Heidi’s Head”.
— Greil Marcus, ‘Hum-Drum’ in In the Fascist Bathroom: Writings on Punk, 1977-1992
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