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Frumpies are Tobi Vail, Kathi Wilcox and Bill Karren from Bikini Kill on vocals/guitars and guitar respectively, and Molly Neuman on drums.
This four-song single was recorded, as the lyric insert says, in a garage, stairwell, and various bathrooms in Olympia, Washington. It sounds it, too, though it's not recorded on a portable stereo.
Tobi gets to sing 'Of Ever and Now On' and 'You'll See'. Both are lost/obsessed love songs, the first clearly to a girl, the second less so.
Kathi's selections, 'Eunuch Nights' and 'Wrong Way Round' are more political. The first, despite sketchy lyrics, seems to be about the right NOT to be defined by one's sexual activities, and tosses in lyrical references to "December 1963", an Oasis song and Thunderbirds, of all the trash! The second is reminiscent of 'Kids In America' by Kim Wilde, were she more into punk rock and a grim vision of youth culture.
Musically, it's like Bikini Kill and Cold Cold Hearts, if more playful. It's fun, but nothing you would die without.
Bikini Kill are no more, but this posthumous release makes some of its rarer material available (for those who are turntable-challenged - there are tracks kicking around that could have helped to make this short release more attractive, but that is a quibble).
What it does do is collect the nine songs from the three singles the band released (New Radio, The Anti-Pleasure Dissertation and I Like Fucking).
The first single contained 'New Radio', 'Rebel Girl' (one of three renditions the band released!) and 'Demi-Rep'.� In terms of production and pop hooks, it's the catchiest, which isn't surprising, given Joan Jett behind the boards. I've never understood what the first song was about (surely the only time Kathleen Hanna has said: 'It doesn't matter who's in control now...'), though 'Demi-Rep' goes a long way towards establishing assertive 'girl power' (nothing to do with the Spice Girls).� This 'Rebel Girl' is the only version that includes 'They say she's a DYKE (otherwise, 'slut') but I know she is my best friend' and sounds like vintage Joan material.
Sexual politics, in every sense of the word, is the theme of The Anti-Pleasure Dissertation.� 'In Accordance to Natural Law', sung by drummer Tobi, is a short, loud, almost incomprehensible (praise be to the lyric sheet!) rant about the notion that sleeping with a boy (or a girl, if the listener is expecting heterosexuality from his/her idol) invalidates all one has to say about power relations between the sexes. � 'Strawberry Julius' explores power in a relationship, in a complex way, since it allows that the female protagonist might enjoy the interplay or turn the balance to her advantage.� The title track is a sarcastic attack on double standards and the notion of 'scoring' as how males tally their worth.� Finally, 'Rah Rah Replica!' is a brief blast the explores the same themes as 'Strawberry Julius', though with clearer victory for the woman.
And to finish off, I Like Fucking, backed with I Hate Danger. � Since this was recorded at the same time as the material on the previous single, it is not startling that the same themes are present.� However, the music isn't interesting here.� The lyrics are good, particularly on the A-side, and the B-side is one of Tobi's best numbers, but it just doesn't work for me as a whole.� The vinyl came with a neat sticker, though (not included here).
As a package, this is a good way of having all the singles in one convenient place (it being difficult to haul a turntable around during the day).� It is also, with exception of Reject All American (the final LP), the most consistent release by the group, lyrically and musically.� To borrow the title of one of its finest numbers: 'RIP' (Rest in Pissed-Offedness).
Buck consists of Lisa Marr (bass/vocals) and Lisa G (drums/vocals), both ex of cub (the latter recently replaced by Sherri Solinger, formerly of queer bands Longstocking and Murmurs) and Pepper Berry, the token boy, on guitar.� The first two members' background dictates the content and style (i.e. cutesy power pop), though there are differences.
For one thing, the guitar is louder and the vocals less up-front.� Also, while songs like 'My Fascination' and 'Old Blue Sweater' have that cheery drive which cub exhibited (and also the consistently missed dark edge - after all, while the former song may contain sappy lines like "I'll be your umbrella if you'll be my fella and I'll keep you from the rain", the chorus ends "My fascination - is just another nail in the coffin"), 'Sucker' and 'Hex Me' are nasty (in Lisa Marr's shrieking vocals and lyrical content, including gratuitous uses of 'fuck'...my...cub used it only once, and in context!).
A track such as 'The Day I Died', though not unprecedented in cub ballads, is more disturbing than one would expect from that band.� On the other hand, 'Greek Drama' is sung/recited by Lisa G. and is distinct from her one-take screamfest 'Not What You Think' from cub's last album Box of Hair. � It's almost elegant.
Buck is a beast with more kick than cub (sorry - a wretched pun).� As it happens, it's a brief affair (the 12 tracks last 32 minutes; the 13th track delivers the album over), but an enjoyable one.� It's safe to say that the corpse of 'cuddlecore' has been buried here (or one of its multiple bodies).
Kaia (guitar/keyboards/vocals), Melissa (drums/keyboards/vocals) and Alison (bass/vocals) meet to form a lesbian supergroup.
Kaia and Melissa were part of dykecore legends Team Dresch, and Kaia has released two solo albums, one of which is on this, her own label. � Melissa was part of a band called Vitapup, but I've not heard its material.� This is Alison's first musical project.
As an album, it's eclectic.� Like Kaia's Ladyman, which also featured Melissa, it ranges from folk-rock (a band re-make of 'Salamander' from Kaia's first record) to disco ('Disco' (the feminist mix)').� It includes a song by women's music pioneer Cris Williamson, 'Shooting Star', done in a rockin' style (I have no idea what the original is like).
I like this record.� It's lesbian, but not in a Tribe 8 way (I like that band, but I wouldn't want every dyke-punk group to sound like it). � Perhaps Kaia was serious on her debut album when she spoke of making 'a dyke record for the whole family'.� This one comes close.
This side project by Corin (guitar/vocals) of Sleater-Kinney; Sarah (organ/vocals) of the Crabs and S.T.S. (drums) is supposed to be its tribute to the Shangri-las and other tough girl groups of the 60s.� The organ sound is reminiscent of the era, and the big production (by K standards) fits in, but it's too assertive for the tag to hang comfortably.� It would be nice to think that the Shangri-las wrote their material, defined their own image and had control, but it would not be true.
However, it's a good record nevertheless.� The girl-soldier drama 'June and July' benefits from Corin's impassioned vocal delivery, and 'Two Beers Later', while not exploring new territory (boys pretending to be sensitive at grrrl-rock shows while trying to score), is catchy as all heck, particularly the organ part.
It's got a good beat - you can dance to it - I'll give it a 96, Dick.
Ms. Carlos has been active in the electronic music field for about forty years.� She is famous for her Switched-On Bach series of the 60s and 70s, or the soundtrack to Clockwork Orange (her complete score for that finally being available from the same label, along with another album, Sonic Seasonings).
In recent years, her explorations in electronic music have led to accurate 'symphonic' recreations (she was brilliant with Moog technology, a device she had a hand in developing; now she is without peer).
This seven-selection CD explores the full gamut, from jazz to (black?) Mass (in fact, 'Clockwork Black', one of the cuts, was originally to be called 'Black Mass').� It is more approachable than the occasionally off-putting (and out-of-print) Beauty In The Beast (1986).� It even has vocal components for those who find instrumental material too remote.
It is a tribute to her creation that my boyfriend (who knows his classical music!) thought there was a 'real' orchestra on the recording.� In short, another well-realized project under Wendy's belt (though I did not find it scary, despite the kind warning on the front, I will concede the claim 'Wendy Carlos is the original synth').
Ad (guitar/vocals); Cindy (bass/vocals); Noelle (guitar/vocals) and Tom (drums/vocals) come out with a full-length, after two singles and appearances on compilations (many of the latter tracks are collected here).
The singles, 'No Happy Songs' and 'The Pensive EP', wore a groove in my turntable, so I (and anyone I tried to convert into a fan) am glad to hear more than those eight songs.
How to describe Jumprope? It's not the average grungey band.� In fact, though it occasionally rocks out, there's decorum and control to the material.
There are non-rock elements to the sound (i.e. Latin rhythms; jazzy chords that suggest someone's been reading ahead in the guitar technique book; a swinging, almost vocalese singing style).
Like Canada's cub, I suspect the surface sunniness of its art (there are minor chords, but no songs entirely in minor keys - in fact, the melodies are made tricky by the harmonic shifts underpinning them) hides the fact that many of the lyrics are melancholy ('Bright Summer Sky' is about depression; 'Tortoise and the Hare' doesn't say anything positive about human interactions).
I was sad that Noelle only had a hand in the writing of two songs, since her throaty singing style grows on me, and sang one written by the others (though her 'The Reunion' is the catchiest tune to my ear, and the easiest to sing along with). � However, Cindy's Bjork-like jazzy vocals (such as on the electric version of 'Here Comes Mary Moon', previously found in a lovely acoustic rendition on 'No Happy Songs') and Ad's boyish, strained voice have their charms as well (particularly on the latter's ode to 'Aunt Harriet' from Batman).
In terms of packaging, the summaries of the songs within as though they were novels is a nice touch and explains the title.
In short, it's a charming CD, which consists of mildly bitter pop songs with a coating of sweetness, so that neither taste sensation will nauseate you...so I've forced the metaphor...there's nothing sickening about it at all...
Julie Ruin is Kathleen Hanna, formerly of Bikini Kill.� This record was worked on while the band was together, so the accusation that she was trying to make something different as a solo statement doesn't ring true.
Much of the press describes this as a 'hip-hop record'.� While there are elements of that style (the drum machine; the samples; the turntables), it is not so pure.
For one thing, there are songs here which would not be out of place on a Bikini Kill LP ('The Punk Singer', 'Radical or Pro-Parental', 'I Wanna Know What Love Is'). � The production and instrumentation would have been different, but the lyrics and music are no vast departure.� Even the most distinct tracks, like 'Crochet', have the humour and righteous anger one associates with that band.� I mean, Kathleen wrote most of that band's songs - how could this material not sound like her vision? It's like Neil Young being sued for not sounding like himself (and, yes, I know that happened...).
It is mostly a one-person project (Kathleen on all instruments, with some support from a live drummer, a keyboardist and a bassist on a few tracks) done in her apartment on four and eight-track, but you wouldn't know it - it sounds organic, barring some clumsy loops that remind one that humans are fallible.� The vocals could have been mixed a bit higher, but they're audible.
It has also been said that the lyrics here are not as 'political' as on Bikini Kill records.� Possibly...but a track as strong and queer-positive as 'I Wanna Know What Love Is' refutes that argument, and everything on it is 'political'...not as pamphlets or slogans, but viewpoints.
It's an intriguing record - not everything works as well as it should, but it's a sincere effort, and a sign of things to come.� Only Kathleen knows what they will be.
Jane Jefferies and Chris Powers (both on guitar and vocals) make up Three Dollar Bill.� With the help of Laura Ann Masura (drums), Santosh Isaac (bass) and Homocore Chicago's Mark Freitas on additional guitar, they have put out a six-song EP that is sure to please (me, which, as I maintain, means everyone should like it...this may be self-centered).
Jane's songs are 'Girl-O-Matic', a speedy whirl of lesbian lust; 'Phallic Symbol', a semi-acoustic meditation on heterosexism and domination (with a nasty twist on Liz Phair at the end) and 'Must see TV', an attack on the plastic world of various programs (which I won't name, though some of my Friends watch them), though it comes out, as it were, in favour of 'Roseanne' and 'Ellen' (yaay!).
Chris' selections are 'Self-Loathing Queer', a slightly thrashy attack on a not-very-well-closeted queen; 'Dud Boy', a pop-punk number about someone the narrator thinks is too possessive and deluded by notions of love (I'd say 'send him my way!', but I'm afraid I've bought into the crap already...still, I liked the song...) and 'Retarded Drag Queen', a non-PC, hard-edged, funny and affirming song about the title subject.
All told, a little gem, for everyone on your shopping list (except self-loathing queers).� Put out your three dollar bills (well, a couple, plus a two-spot) for it now...
Throwing Muses were one of the first 'intense' girl-rock 'crushes' I had. � That is, I heard women (so there was one boy - he didn't vocalize or write...) perform and thought: "I see where you're coming from, sisters" (perhaps I didn't, really, but that's what I thought at the time...).
However, I never heard this material at the time, since it consists of their first album and EP, which were not available in the North America, despite the band being from the U.S.A.� The second CD in this collection comprises their 1985 demo tape (when the members were all in their late teens!) and a 1996 recording of songs written in 1983, plus the video for their song 'Fish', which was on an out-of-print 4AD collection, so few people outside of the collectors/fan club loop have encountered this stuff.
How to describe Throwing Muses? 'Sylvia Plath forms a rock band' comes close, though only in a facile and misleading way.� The material is dark and tortured - in particular, the agonized meditation on the cruelty of the world, 'Hate My Way', or the effects of various closets on the characters in 'Vicky's Box'.� Tanya Donnelly's contribution to the first album, 'Green', is more hopeful, but only by comparison to Kristin Hersh's songs (that Hersh was eventually diagnosed as bipolar should not be surprising).� The 'Chains Changed' EP is sunnier, though only with a dim glow through the clouds.
Musically, the Muses produced a dense tangle of sound that pulled in various directions at once, melodically and rhythmically (funk bass by Leslie Langston colliding with Tanya and Kristin's thick, ominous guitar walls).� David Narcizo never used crash cymbals, in the best tradition of the Velvet Underground, which caused the rhythms to be almost unbearably tense.� The vocals recall Patti Smith or Yoko Ono in their use of shrieks, glottal stops, gasps and chants.
The demo tape has flashes of the dark wit that would creep into the Muses' work as they aged and gained perspective.� 'Sinkhole' has a willful glee in its descriptions of natural disaster and the droll tagline that 'it's all because of sin' (I'm assuming the humour is intentional).� 'Raise the Roses' (which, when Tanya later founded Belly, she used as the melody for 'Angel') is so over-the-top in its lyrical content I have to conclude it was meant to be camp.
The early material is given a good performance by the final, trio version of the Muses, but it's still stuff that was wisely not recorded at the time.� There's nothing wrong with it - it's just not up to the caliber of the first album.
The video is beautiful and surreal, and won an award at the time, deservedly so...
All I can say is, it's nice to have this material available in North America at last, even if it reminds me of what an intense, gloomy person I was in my teens and early twenties (but, hey! so were the Muses!).
Once in a while, an over-produced, precious record slips into my collection, despite my minimalist-detecting, punk rock defences (warning: sarcasm may be activated).� In past years, that would be material like the Tindersticks, and, more recently, Divine Comedy (it's almost always British - the precious pop I like from this side of the Atlantic is more pared-down, like Apples in Stereo or Elliott Smith). � Now it's Belle and Sebastian, who, in a surprisingly short period of time, have put out two excellent albums (there's a third, but it will only be widely available this spring) and a handful of singles.
What is it like? Big, big, big.� There are eight members of the current line-up, heavy on guitars, strings and keyboards (it never puts names in its records, but such info can be found on its website).� Sad, sad, sad.� The lyrics are melancholy and evil at times ('It Could Have Been A Brilliant Career' is about people who are struck down before they reach their prime, and, while depressing, is not sentimental; the title track is, as I was shocked to discover upon doing research on its website, about a boy wearing a cock ring; 'Is It Wicked Not To Care?' is summed up by its title, and is the only track with one of the women vocalists on lead).� There are odes to such icons as 'Seymour Stein' (the queer head of Sire, who planned to meet with the band, but did not, judging from the song) and 'Chickfactor' (a cool 'zine - this song is more emotionally engaged than the cold tribute mentioned above).
Melodically, all these pieces will grab you and refuse to let you leave alive (particularly the whirling synths/organs of 'Sleep The Clock Around').� It's delicately folky, yet orchestrated, rock in a Housemartins/Go-Betweens/Smiths mode, with bittersweet lyrics on top of those creamy confections.
In short, a pop masterpiece, in the purest sense of 'pop' (it speaks to the heart, mind and soul of people).
These two hardcore bands joined forces initially to release a 7", but it morphed into a 12" (so Ali of Consumerist says in an interview .) Thank goodness for purposes that go awry...
Hoodrat, consisting of Giz (guitar/vocals); Jordan (drums) and Cory (bass/vocals) are from Oakville, Ontario.� Its seven songs are in a fairly speedy mode, with a sprinkling of pop (just enough), including horns on two tracks.� Giz reminds me of the female vocalist of the Chitz, a Halifax band I admire - the band does too, in a good way.� Its material is lyric-intensive, which is a plus to me - slogans are handy, but get old.� Pieces such as 'Theory Into Practice' and 'Johnny' analyze the problems of the 'scene' with insight, and 'SxE 77' and 'Smash Hate' address straight-edge and intolerance in an uncompromising but not 'we-know-all-the-answers' way.� And, for a bit of levity, there's always the 'Eighties Song' (you know, there were things besides the Brat Pack and Cyndi Lauper then, though...*grin*).� It's also great that the booklet contains info on Anti-Racist Action and companies which test on animals (and, to be 'balanced', it also mentions that PETA lists the companies that do not...so, even though I'm pissed off at that organization for its anti-fat diatribes, I've gotta give it, and Hoodrat, credit for that...).
Consumerist, from my hometown,does twice as many songs on its side, but its members are young, and thus have energy and speed (kidding, kidding...I still have as much vim now as I did when I was nineteen...which is, come to think of it, sad...).� Brad (drums), Ali (bass), Matt and Morgan (guitar) and Hugh (vocals) churn 'em out with ferocity and wit. � Like Hoodrat, its members aren't in a Propagandhi (or, so help us, Earth Crisis) mode, and are willing to admit contradiction and confusion, such as on 'Shoving Values Down Our Throats' or 'Scared New World'.� Hugh has an intense, Johnny Rottenish delivery (the young version) that fits the harsh, powerful music to a 'T'.� Of course, the hint of humour in 'McVandel' helps to lighten things up (though I'm sure the Satanic Clown will be giving them a call).
Anyway, I wish both all the best, and opening spots on Lollapalooza (oh, I'm kidding!!). �
Get a hold of either band to find out how to obtain the LP.
Stereolab has been around in one form or another since the early 90s and puts out material at an astounding rate, some on its current North American label, Elektra; some on its own Duophonic Discs and, of late, on Drag City (the vinyl of its last major-label album was on the latter imprint).
This is Switched On Volume 3.� To explain, the band has put out two previous compilations of singles, various artists tracks, outtakes, remixes and rarities of assorted kinds.� This is the most ambitious of the lot.
The 25 tracks here cover the range of the above, but focus on extremely hard-to-get selections.� For examples, it gathers the fiercely sought songs from its split single with Huggy Bear, which was only available free at a given show in the U.K. some years ago.� All of the tracks from a 1995 10" that featured the first appearance of a string section on its electro-rock material (a device used to great effect and frequently since) are found here as well.
There is a wide array of material here - it is the ultimate desert island disc, since there is something for every mood - but my personal favourites include the free-jazz-meets-Doors stomper 'Speedy Car'; the Velvetsy rocker 'Golden Atom'; the appropriately spacious and stark 'Ulan Bator' and the Jobim cover medley 'One Note Samba/Surfboard' (for the terminally retro-kitschy, 'Get Carter' is rendered here, an early electro-pop instrumental that the Human League also did, albeit to death in the latter's case).
Laetitia Sadier's sensual, cool voice and Tim Gane's arrangements/guitar/keyboards are, as usual, flawless and adventurous.� All of those who passed through Stereolab's ranks from 1993-1998 (the period covered here) are to be commended for their playing here.
In her book Woolgathering, Patti Smith said 60s jazz chanteuse Patty Waters had a 'voice like smoke'.� It's an accurate description, as not only does the woman have the insinuating tone one associate with Sarah Vaughan or Cassandra Wilson, but it reminds one that where there is smoke, there is fire.
The A-side of this 1966 record (just re-issued) contains seven songs in a 'torch singer and her piano' mode.� They're beautiful, sensual and flow together.� However, it's nothing radical or memorable, except possibly the inconsolable 'Moon, Don't Come Up Tonight'.
And then there's the B-side.� 'Black Is The Colour of My True Love's Hair' (which, despite the writing credit, is not by her, unless my conservative guitar teacher in the early 80s had a twisted side that she hid from view) is proof of the flame lurking within. � There's a jazz combo (piano/piano harp; bass; drums) accompanying her on this 13.5 minute freakout.� It begins 'normally' enough (i.e. she's singing an elongated melody over the angular backing of the band), though it's still odd.� When she moves on into blats of vocal sound, shrieks and speaking in tongues, you know this is going to a different place (the home world of then-label mate Sun Ra?).� Comparisons to Yoko Ono and Diamanda Galas are not far-fetched.� It is terrifying, and not much falls into that category for me.
Ms. Waters made only one more album as a solo act (College Tour, also originally on ESP, 1967); appeared on a supergroup project LP in 1968; and then vanished (like smoke) from recording until 1996, when she put out a conventional CD of standards. � Still, for this shining moment (and possibly on the next LP, based on reviews, but I haven't found it yet), she was unique and fierce.� This is my kind of jazz (the Ornette Coleman Quartet's This Is Our Music, from 1960 (Atlantic Records), which I recently found in a sealed vinyl copy, is fine as well, though my sweetheart was critical of it...if 'Oh, listen - a melody crept in!' can be read as a disparaging remark...it's hard to tell with him sometimes...it's a Nordic thing...).
Finally, four years after this album started being worked on by Jad (vocals); Ira (guitar); James (bass) and Georgia (drums), it appears.
It's a high concept thang.� The songs are about those stories one reads in the National Enquirer or the Weekly World News (and I know you do - I 've seen you in that supermarket checkout line - don't try to deny it or claim you were looking at the cover of Good Housekeeping just above them...if you hadn't been reading them, I'd have been able to see the sensational headlines...).� The lyrics are by David Fair, Jad's brother, and are all based on items from those pillars of truth.
Musically, the pieces are minimal and serve to underpin Jad's rhythmic
recitations, so there is little rocking out, except on the alien abduction piece.
� There are 22 selections in 41 minutes, so there's hardly any time to work up a
sweat, anyway.� However, it's intricate and hypnotic music (Georgia clearly
had been practicing her drum chops, since one piece is in 5/4 and she places the accent
oddly - instead of the usual '1, 2, 3, 4, 5', it goes
'1, 2, 3, 4, 5') and the stories are funny, sad or bizarre in alternation
(and the best part is they're all 'strange but true' *grin*).
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