“This may be a record that literally nobody else gets or likes, or like, you know, is into,” says Katie Alice Greer, former vocalist of DC post-punk outfit Priests, of her first solo effort Barbarism, out today on Four Four Records. “But that’s okay, because I made it first and foremost for me.”
I first came to Greer’s music as a DC resident myself, when I saw Priests perform for the first time in 2013 as the opener at a Pygmy Lush show at the Pinch in Columbia Heights. In my mind, they ushered in a new era of the DC sound, such that it had been confined to hardcore for as long as I had been a part of it, and before that even. This was new, different, in many ways mind-blowing – I had never heard a band like this come out of DC. They forged a path forward for bands like Flasher, Gauche, and even Snail Mail (who’s from the Baltimore area, but this is a technicality) – all of whom put out releases on Priests’ Sister Polygon Records. Priests exploded into more national recognition with their debut full length Nothing Feels Natural in 2017 (coincidentally, the first album I ever covered for this very website). But enough about Priests.
They went on hiatus in 2019, and Greer relocated from DC to Los Angeles. This was her fresh start, and she was eager to collaborate with new artists. But then, given the timeline, I don’t have to tell you what happened.
“It was a really strange time to move here,” Greer says. “I think obviously that informed a lot of the process of the record as well. I never really set out for it to be a thing where I played and wrote every single thing on it, but just logistically, it was kind of how it turned out. It was really important for me to make something that didn’t feel informed by any external sense of what I thought anybody else would want to hear or what might seem cool, or resonate with other people.”
And so, she says, this is the “weird record that came out.” She balks that she hasn’t come up with a better elevator pitch for the record except to call it weird, but I think that’s fine – it is weird, which is part of its charm. It doesn’t sound like Priests even a little bit, but it doesn’t sound like anything else either. It’s rife with noisy industrial sounds, layered under Greer’s vocals, which jump all over the place. At times they’re sweet, nearly bridging the gap to hyperpop (notably on the opening track, “FITS/My Love Can’t Be”), which sounds interesting and textured against the harsh backing music. At other points it feels nearly reminiscent of something you might hear on a Sacred Bones record, haunting and ethereal like Marissa Nadler or SPELLLING. And in that sense, I could offer Greer a few more adjectives – rich, refreshing, and perhaps most importantly in the lens of what she set out to do, unlike anything I’ve heard lately.
Greer inhabits a unique space as a musician, in that she has no formal experience. This particularly informs her practice as a songwriter – she references the Werner Hertzog documentary Burden of Dreams as one of the few tangible influences on her process writing this album.
“It’s about him making this really epic movie in the jungle, in the Amazon, and how every single thing went wrong in the process,” she explains. “I think there were a lot of points in time while making the record where I just felt so totally lost in it, and I was completely frustrated by gear not working, or my computer being too full, or just you know, the world’s crumbling around me. Having felt like a lot of my internal world had crumbled or come to an end after this really significant aspect of my life was over and I moved away from what I considered home.”
During the height of the pandemic, Greer – and the rest of us for that matter – might as well have been in the Amazon like Hertzog. Many felt their individual worlds crumble in very individualized ways over the last few years, but what’s so special about Greer’s songwriting, in general and on this record in particular, is that while it feels personal, it never feels diaristic. While the feeling of isolation as familiarized by COVID is evident on this record, it’s not explicit. She approaches songwriting almost like a novelist or a filmmaker, defining her own feelings and building a character, a concept, a fantastical storyline around it.
“Thinking about music in these more visual, or cinematic ways just makes more sense for my brain,” she explains. “Diaristic, confessional songwriting is very hard for me. I don’t make work that way. But I can take things that I’m feeling or thinking about and get a little bit more imaginative, or like, blow those out of proportion, or try to write a different storyline around them.”
This visual, cinematic approach shines in the accompanying videos for the record, namely for the single “Captivated.” She notes David Lynch and photographer Alex Prager as influential to the album’s visual elements as well, an emphasis on the surreal that screams in this particular video. In it, a woman sees a plane flying backward, and Greer’s vocals fade in: “A mystery to be unraveled.”
Photo by Alex Prager, a visual influence for the album
It’s a snapshot of sudden isolation, the world crumbling around you, everything going wrong when you’re lost in the wilderness. “She realizes that airplane just…flew backwards? Like, what’s going on in my brain?” Greer asks. “Is anybody else experiencing this? What’s happening? She’s maybe losing touch with reality, or maybe the world is, maybe this is an external thing. It’s hard to know.”
And in that, Greer’s personal experience, morphed into this fantastical storyline, reveals the universal. In these precarious times, it’s hard to know what’s real and what isn’t – are you going crazy, or is the world going crazy all around you? Greer’s Barbarism blurs the line to the extent that we might ask, does it even matter? Just go ahead and make the weird record, the one you wanted to make.
Follow Katie Alice Greer on Instagram and Twitter for ongoing updates.
It’s always sad when an iconic New York venue closes, but Webster Hall’s story has a happy update. The 130-year-old venue was shuttered in August 2017 for renovations when longtime owners the Ballingers sold it to AEG. That means Bowery Presents will be handling bookings, and the show schedule looks pretty sick, starting with a christening from punk poet laureate Patti Smith on May 1. Broken Social Scene, MGMT, Sharon Van Etten, Big Thief and Built to Spill are some of the acts slated to play over the next six months or so, and that’s just the initial announcement. The New York Times got a sneak peek into the renovations, and it seems like the $10 million plus project focused mostly on accessibility, with a revamped entryway and the addition of an elevator, as well as updates to the bathroom and soundsystem. Much of the characteristic fixtures in the ballroom were left unscathed, though we’re guessing the floor will no longer feel like it’s about to cave in when the mosh pit gets too rowdy. The Marlin Room will become a lounge, and there’s no word yet on what’s going on with the basement stage. The venue will still have a capacity of about 1,400 – making it an essential part of downtown nightlife once again.
R. Kelly Arrested, Bond Set at $1M
Following increased scrutiny after Lifetime doc Surviving R. Kelly aired earlier this year, the R&B star was arrested in Chicago on Friday and charged with ten counts of aggravated criminal sexual abuse involving four separate victims, three of whom were minors when the abuse occurred. One of the most disturbing pieces of information to emerge in Saturday’s bond hearing was that Kelly met one of these victims at his 2008 trial for child pornography, of which he was acquitted; like the trial a decade ago, some of these charges stem from the discovery of a sex tape in which Kelly appears to perform sex acts with an underage girl. His bond was set at $1 million, and that may be the tip of the iceberg – Kelly is also under investigation by multiple federal agencies for sex trafficking, and it looks likely that there are more victims who have yet to come forward. Let’s hope this is the beginning of the end of their nightmare.
That New New
Audiofemme favorites Sharkmuffin shared rollicking new single “Serpentina,” the first single from their Gamma Gardening EP, out April 5 via Exploding In Sound. We couldn’t be more excited – love you, Tarra & Nat!!!!
While this video for Kate Bush’s cover of Elton John’s “Rocket Man” isn’t exactly new, it hadn’t been released since its recording in 1991. The video comes with the announcement of a four-disc rarities and b-sides compilation called The Other Sides, which will be available March 22. In other Elton John news, his biopic, starring Taron Egerton, comes out May 22.
Tierra Whack is back with single “Only Child,” her first release since blowing up with Whack World.
Helado Negro is currently on tour with Beirut as he prepares for the March 8 release of This is How You Smile; he shared a video for single “Running” this week.
Ella Vos shared an intimate self-directed video for “Empty Hands,” which follows her through the last day of two years of treatment for lymphoma. The single appears on her latest EP, Watch & Wait.
Karl Denson’s Tiny Universe will release Gnomes & Badgers, their first album in five years, on March 8. The TG Herrington-directed clip opens a poignant dialogue about the family separation crisis at the U.S.-Mexico border.
Marissa Nadler released two new songs – including a duet with John Cale – via new imprint KRO Records, who will release the single on heart-shaped vinyl this spring.
CHROMATICS are back with “Time Rider” and a slew of tour dates, but no official release date for an album, which they’ve been teasing for some time now.
Priests released a lyric video for “Good Time Charlie” from their upcoming album The Seduction of Kansas, out April 5 via Sister Polygon.
Empath have announced their debut LP Active Listening: Night on Earth (out April 2 via Get Better Records), and shared its first single, “Soft Shape.”
Alex Lahey will finally release a follow-up to 2017’s excellent I Love You Like a Brother. It’s called The Best of Luck Club and is slated for release via Dead Oceans on May 17; “Don’t Be So Hard on Yourself” is the first single.
TEEN are streaming Good Fruit ahead of its March 1 release over at NPR, and have shared a video for “Pretend.”
With her band Wax Idols on an indefinite hiatus, Hether Fortune has shifted to solo work with the release of single “Sister.”
Shady Bug shared “Whining” from their sophomore album Lemon Lime, out March 8.
Los Angeles noiseniks HEALTH have released their fourth collaborative single since September, this time featuring JPEGMAFIA.
We’re obsessed with “TGM” from 18-year-old newcomer Ebhoni, who reps her Toronto home and West Indian roots all at once.
Indie poppers Pure Bathing Culture shared a lyric video for “Devotion,” the first single from their forthcoming LP Night Pass, out April 26.
If you’ve ever wondered what Mountain Man’s Molly Sarlé sounds like on her own, take a listen to her debut single, produced by Sam Evian. She’ll play some shows with Mountain Man cohort Amelia Meath when she joins Sylvan Esso for a few shows in their recently-announced WITH tour.
Former Shudder to Think frontman Craig Wedren has had an illustrious career scoring film and television, so it’s no wonder the clip for his vibey rework of “2Priests” (from last year’s Adult Desire Expanded) is so gorgeous.
We have a feeling Aldous Harding’s low-key pilgrim dance from “The Barrel” video might catch on well before Designer arrives via 4AD April 26.
Legendary Smiths guitarist Johnny Marr shared a video for latest single “Armatopia” to promote his upcoming North American tour in support of 2018’s Call The Comet.
Moogfest has announced the “first wave” of its 2019 lineup, featuring Kimbra, Martin Gore, Matthew Dear, Lucrecia Dalt, GAS, Ela Minus and more.
Wilco have also announced the lineup for their bi-annual Solid Sound Festival, taking place June 28-30 in Massachusetts. There will be several sets from Jeff Tweedy solo and with the band, as well as appearances by Courtney Barnett, Cate Le Bon, Tortoise, Jonathan Richman and more.
The 1975 took home British Album of The Year at the BRIT Awards for A Brief Inquiry into Online Relationships, and called out music industry misogyny in their acceptance speech for Best British Band.
Stereolab have added a ton of reunion tour dates to their Primavera Sound and Desert Daze appearances, and announced reissues for seven of their records. The band has been on hiatus for a decade.
Tom Krell of How To Dress Well launched his label Helpful Music with an EP from Calgary’s Overland.
W Hotels have also recently launched a label, releasing two songs with Perfume Genius to benefit Immigration Equality. Watch a mini-doc about the collaboration here.
Lydia Loveless took to Instagram to detail sexual harassment she has suffered since signing to her label Bloodshot Records; her abuser doesn’t work at the label, but attended all social events having to do with it as the partner of one of the label’s founders, who has since left the imprint.
Michael Jackson’s estate is seeking to block the production of HBO’s Leaving Neverland with a $100 million lawsuit; the two-part doc follows the story of two men who say their were abused by the King of Pop as children and is set to air March 3rd & 4th. Watch the trailer here.
Stereogum published this handy rundown on the drama that’s dogged Royal Trux’s reunion tour, as well as the release of White Stuff, still scheduled to come out March 1.
sleater-kinney and st. vincent, hollywood, ca, jan 2019. photograph by jonny cournoyer
New Year, New Music
By Lindsey Rhoades
Sleater-Kinney is in the Studio… Producing an Album with St. Vincent
If this tweet didn’t warm your riot grrl heart, we don’t know what will. Though details are scant (no official release date, no title, no tracklist, no leaked audio) Sleater-Kinney announced via Twitter that St. Vincent mastermind Annie Clark is producing their next record, the follow-up to their return-from-a-decade-long-hiatus-instant-classic No Cities To Love, released in 2015. The tweet came with a photo so amazing we thought we were dreaming: four of our favorite female musicians sitting at a mixing board, their expressions saying only one thing: Y’all are not even ready for this amazingness. Though it’s officially become our most anticipated release of the new year, other artists aren’t slouching – keep reading below for the veritable onslaught of recently released jams. But first…
Woodstock Will Return in 2019… Can it Compete With New Festival Lineups?
Break out the patchouli – Woodstock is coming back for its 50th anniversary. The original founder, Michael Lang, announced Wednesday that he’s planning to book multi-generational artists with an activist bent for a weekend-long festival in August at a racetrack called Watkins Glen; meanwhile, another Woodstock Anniversary fest helmed by LiveNation at the Bethel Woods Center for the Arts (the original site of the 1969 gathering) was already in the works. No artists or ticket prices for either fest have been announced, but our heads already ache at the thought of sorting out nightmare radius clauses.
Woodstock, of course, has already had some disastrous anniversaries – most recently Woodstock ’99, which ended in rapes, rioting, and violence. But perhaps the bigger challenge than putting that memory behind them will be simply competing for audience numbers in an over-saturated festival market. Coachella announced its lineup, including headliners Childish Gambino, Tame Impala, and Ariana Grande, onm January 2. This week, Bonnaroo announced they’d also be hosting Childish Gambino as a headliner, along with Post Malone and multiple sets from jam band stalwarts Phish (this prompted Forbes to beg the question: Why isn’t Cardi B’s billing higher?). New York’s own Governors Ball has once again invited The Strokes (who have played the fest before but not headlined), as well as Florence + The Machine and Lil Wayne to play their top spots, with Tyler, The Creator, Nas, Sza, Brockhampton and more rounding out the bill. And though it’s not strictly a festival in the same sense as those mentioned above, SXSW has begun hyping the first handful of buzzworthy acts who’ll play showcases all over Austin in March, including Amanda Palmer, Swervedriver, Ecko, The Beths, and Wyclef Jean.
That New New
Kehlani has a new song featuring Ty Dolla $ign; “Nights Like This” will appear on a mixtape due in February, which is itself a precursor to a new album due sometime this year.
Girlpool have a new album coming out February 1st, and have shared the title track, “What Chaos Is Imaginary.”
Ex Hex is finally releasing a follow-up to 2014’s Rips, called It’s Real (out March 22 via Merge). Their first single is “Cosmic Cave.”
Sharon Van Etten will release her first album in five years, Remind Me Tomorrow, on January 18. This week, she shared a video for “Seventeen,” after previously sharing “Comeback Kid” and the absolutely stunning “Jupiter 4.”
Mineral are releasing new music for the first time in 20 years, including this video for “Your Body Is The World.” The song appears (alongside “Aurora“) on a limited-edition 10” that comes with a hardcover book commemorating the Austin band’s 25th anniversary.
Beirut release Gallipoli on February 1; Game of Thrones actor Ian Beattie plays a kind of klutzy knight in the video for “Landslide.”
Pedro the Lion shared “Quietest Friend,” a companion video to “Yellow Bike.” Both singles appear on the group’s first record in over a decade, Phoenix, which you can stream now in full via NPR.
Priests have announced a new album, The Seduction of Kansas, and shared its title track. The LP comes out April 5 and they’re doing a huge tour around it.
FIDLAR ironically manages to Skype in their entire LA crew in a video for “By Myself,” from their forthcoming LP Almost Free (out January 25 on Mom + Pop).
Cherry Glazerr shares “Wasted Nun” from Stuffed & Ready, out February 1 via Secretly Canadian.
Deerhunter released the third single, “Plains,” from Why Hasn’t Everything Already Disappeared? but Bradford Cox is worried no one will listen to the record in its entirety when it comes out January 18.
Also releasing an album on January 18, experimental rock duo Buke & Gase premiered the title track from Scholars.
End Notes
Attention Brooklyn! Early aughts rap-rock one-hit-wonders Crazy Town are inexplicably playing Sunnyvale on February 23rd. Sorta wondering if it’ll just be one forty-five minute set of “Butterfly” played over and over.
If you’ve got kids, or have simply interacted with one in the last year, you’ve probably had “Baby Shark” stuck in your head at some point. But this week made it official – every toddler’s number one jam appeared for the first time on Billboard’s Hot 100, making it one of the few children’s songs to do so.
A documentary on Lifetime called Surviving R. Kelly aired the first week of January, and with it has come some new hope for victims seeking justice. The doc has prompted a kidnapping investigation in Georgia, more victims have come forward, and Phoenix, Lady Gaga, and Chance the Rapper have all recently released statements apologizing for working with R. Kelly in the past. Chance recently appeared on Sesame Street and admitted in an Instagram recap that he saved someone’s life by pulling them from a burning car last April, so we think his karma may be in the clear.
In a rare interview, Frank Ocean shared his very respectable skincare routine (and some other stuff) with GQ.
Risqué rap sensation CupcakKe (real name Elizabeth Harris) made some worrisome allusions to suicide on social media, prompting her hospitalization – but she seems to be on the mend, having released a single on Friday called “Squidward Nose.”
Queen biopic Bohemian Rhapsody was a big winner at the Golden Globes last Sunday, taking home Best Picture and Best Actor for Rami Malek’s portrayal of Freddie Mercury – all in spite of its negative critical reception. Honors for Best Song went to Bradley Cooper and Lady Gaga duet “Shallow,” from A Star Is Born.
I knew this would happen. My one-person tent is sagging like ruined soufflé. Its support beams are in all the wrong holes, and the whole thing is yet to be staked in the ground. The bus for Basilica Soundscape leaves in one minute. At 5:59 in Meadowgreens Campground in Ghent, New York, I relinquish a losing battle with said tent, leaving it in a frightening half-mast tangle, and board the shuttle flushed with defeat. This row would have to be settled later. In the dark.
For a moment I feared that this tent dilemma would prevent me from enjoying myself at all. What if I kept dismembering and reconstructing the tent in my head all night, and missed all of the music surrounding me? It could happen. These obsessive thoughts ceased however, the moment I entered Basilica Hudson. The 18,000 square feet factory building was built in the 1880s, and has produced everything from railroad car wheels to glue, but these days its main export is art. In 2010, musician Melissa Auf der Maur and filmmaker Tony Stone acquired the building, transforming the space into a sanctuary for music, film, and visual art.
Basilica Soundscape offers all of these mediums at their finest. Often described as “the antifestival,” Basilica Soundscape is exactly that – the weekend of music, poetry, and visual art feeling far more intimate than the word “festival” suggests. In fact, Soundscape seems more akin to a house party hosted by wealthy eccentrics, or a wedding held in a medieval hamlet. Within minutes of surveying the grounds, it appeared as though all the romanticism and utopia promised by other festivals was actually here all along, from the rainbow arching across the sky to the flayed chickens sizzling on an open grill.
At 6:30 everyone funneled into the Main Hall, where openers Bing & Ruth plunged into a dizzying set that I can only describe as sounding like the ocean. Pianist David Moore’s technique was both dense and delicate, evoking a sense of moving through water. The blue light enrobing the musicians and the whale songs sung by cello and clarinet added to the seascape of sound. Even the stage decorations seemed marine in nature; plumes of pink silk hung from the ceiling, dissolving into tendrils of rope and swaying like jellyfish. It was only after Bing & Ruth left the stage that I realized they were hand-dyed parachutes and not aquatic invertebrates.
On the other end of the decibel spectrum, Philadelphia’s Moor Mother (aka Camae Ayewa) annihilated all previous serenity with her serrated poetry and beats. Ayewa stabbed through her set, entangling herself in the parachute ropes and assaulting the crowd with glass-shattering backing tracks and car crash raps. Ayewa’s brand of hyper-politicized poetry utilizes the distortion of punk and the rage of metal to potent effect. Her command of the crowd was immense; when Moor Mother demands that you “hug your motherfucking neighbor!” and “slow dance!” you’d be wise to do so. And we did.
The next best display of aggression was black metal band Thou, who filled Basilica’s smaller North Hall with bowel-shuddering screams and swampy instrumentation. Next, Tunisian artist Emel Mathlouthi had everyone looking upwards, as she performed from the building’s rafters, her colossal voice bellowing from above. For one last dose of drama, Baltimore’s Serpentwithfeet charmed us with his occult gospel. Singer and musician Josiah Wise – the snake in question – is always mesmerizing live, as he summons the spirits of Nina Simone, Josephine Baker, and Aleister Crowley. He is a poised and diverse performer, able to traverse songs about mourning with his operatic pipes, and then whip the audience into fits of laughter with his wry wit.
A far less verbal artist, Indiana’s JLIN closed out Friday night with her hard-driving electronic collages, often splicing horror movie screams with chopper-like drum beats. JLIN’s set was weaponized and dense, but that didn’t stop a pack of men from breaking into arrhythmic dance moves in the audience, convulsing like electrocuted lab rats under the strobe lights. I hoped to harness their energy for later…I still had a tent to set up.
Day 2:
Basilica’s second day was filled with far more fury than its first. Notable early sets from Yellow Eyes and Yvette got our blood pumping right off the bat. The former filled the North Hall with unrelenting drums and ear-piercing screams. Fog hung around the black metal trio, while two wrought iron candelabras added a solemnity to their set, which was dedicated to a late friend of the band.
Brooklyn’s noise duo Yvette played a wealth of new material on the main stage, opening with the older, hard-hitting “Radiation” before treating us to new songs. Rumor has it the pair are currently recording another album, and their Basilica set was a delightful preview. The energy harnessed by lead singer/guitarist Noah Kardos-Fein and drummer Dale Elsinger was strategically focused on Saturday, only improving their intensity as performers. If Yvette were previously men of chaos, they now appear to be mad scientists, fiddling with knobs and emitting blips and whirrs amidst controlled fury.
There was unfortunately some overlap during sets by Priests and Protomartyr, but I was able to catch a bit of both. Priests commanded the large stage expertly, lead singer Katie Alice Greer stalking the stage in a spangled mini dress like The Runaways’ Cherie Currie. On the other side of the building, Protomartyr channeled FEAR and The Fall with a one-two punch of distilled punk rock.
We looked to the rafters one last time for readings by Morgan Parker, Darcie Wilder, and Hole drummer Patty Schemel, who read excerpts from her new memoir Hit So Hard. Schemel’s tales of Kurt, Courtney, and rock n’ roll abounded before Blanck Mass’s Benjamin John Power mounted the smoke-cloaked main stage. The technical headliner for 2017’s Basilica Soundscape was Zola Jesus, but for me, it was Blanck Mass, whose diabolical wall of sound is more a physical experience than a purely sonic one. Power ripped through tracks off his latest LP World Eater, churning out frenzied tapestries like “John Doe’s Carnival of Error” and slow grinding dance cuts like “Please.” Power is obscured during most of his sets, dressed in black and barely visible within the fog and flashes of light. In this sense, he becomes more entity than man – more furious gospel than mere entertainment.
So what was my takeaway from Basilica Soundscape 2017? Go every summer, bring ear plugs, try the chicken, and definitely get to know your tent before next year.
I didn’t even have to break out my “The Future is Female” t-shirt to sound the alarm; at South by Southwest last week, the message was loud and clear. In a whirlwind five days, I saw dozens of acts – mostly emerging or signed to small labels – and only three of those bands did not have women on stage. I didn’t even have to try to make this happen. I made, as I always do, a must-see list, hoping to catch some new-to-me projects at showcases along the way, and in both cases, the most compelling artists at this year’s SXSW were women.
Now, it’s 2017 and women playing music shouldn’t inspire an epiphany. It’s a wonder then, that at this year’s Coachella, only 25 percent of the performers are women or prominently feature a female player. After facing criticism for gender-biased exclusion in years past, GoldenVoice (the company that books Coachella and its NYC sister fest, Panorama) killed two diversity birds with one stone by booking Beyoncé, the fest’s first black female headliner (and its first female headliner in ten years – Björk was last to hold that honor, in 2007). When Bey dropped off the bill shortly after announcing her pregnancy with twins, Lady Gaga was named as a replacement. This year’s Governors Ball doesn’t fare much better, with all-male groups, male DJs, and male rappers outnumbering women performers and groups that have, say, one woman in a band of five (like the Strumbellas or The Head and the Heart) by a shocking margin of ten to one. Lorde is closest to a headlining spot (followed by Beach House and Phantogram, both male-female duos) but she only gets second billing Friday night. Most of the women are relegated to earlier daytime slots, which begs the question – why can’t more of these slots be filled with ladies?
SXSW is pretty different than either of the above-mentioned fests. It’s really just a series of shows held in venues all over Austin, and SXSW-goers can certainly pick and choose what they want to see from a much wider array of artists. But music industry honchos – reps from labels, booking and PR agencies, and, of course, journalists – make up the bulk of the crowds. This year’s buzzy performances could populate the stages of tomorrow’s blockbuster festivals, even if they don’t yet have a big enough draw. That’s what’s exciting about the chaos. It provides a peek at who’s flying under the radar but poised to reach greater heights.
And this year, women ruled. Likely the biggest name of the bunch, the line to see Solange’s headlining slot at the dazzling YouTube house showcase wrapped around the block. Lizzo and Noname, two lady rappers with critically acclaimed albums out last year, routinely packed shows all week, and bring an energy to the stage that could easily translate to large festivals. Sylvan Esso, a male-female duo who toured festival circuits a few years ago on the strength of their 2014 debut, were on hand at SXSW to play new material to dense crowds as well. Any of these acts could’ve easily populated lineups this year.
Meanwhile, there are more than a few names that are likely to crop up when it comes time to book Coachella and Gov Ball for 2018. Hurray for the Riff Raff’s alt-country, pro-immigrant vibes won tons of hearts. Melina Duterte’s solo project, Jay Som, has evolved into an arresting full-band indie rock onslaught with the release of her excellent LP Everybody Works, which came out the week before SXSW. Her former tourmate Michelle Zauner, who founded Japanese Breakfast, played some gorgeously shoegazey sets (during the one I saw, she did an excellent cover of The Cranberries classic “Dreams”), and will get a big signal boost opening for a run of Slowdive’s upcoming North American performances. She’s not to be confused with The Japanese House, an electronic trio from England led by Amber Bain who may just be heirs to the xx throne. Similarly, Sneaks, Tei Shi, and Anna Meredith all brought unique blends of unclassifiable, off-kilter pop to SXSW’s many showcases.
There were a whole bevvy of astounding punk, grunge and garage acts, too. Speedy Ortiz’s Sadie Dupuis brought her Sad13 solo project up to full-band speed with killer all-woman backup. Baltimore babies Snail Mail delivered vintage teen angst, former Swearin’ singer Allison Crutchfield and her new ensemble the Fizz, New Paltz newbies Diet Cig made a ruckus with little more than a drum kit and guitar, Cherry Glazerr veered into delirious heavy metal, and at the She Shreds showcase, Jillian Medford of Ian Sweet triumphantly announced she’d gotten her period before a raucous set – no one batted an eye. Meanwhile, Pill, Downtown Boys, and Priests, three of the most important acts currently touring, didn’t shy away from political messages and protests, either in their songs or in between them. It’s easy to imagine any one of these rockers tearing up an afternoon stage at Governors Ball, once bookers get the hint.
By contrast, of those three man-bands (which sounds as ridiculous as it should when someone refers to bands featuring women as “girl bands”) I saw, two of them bored me to tears: Floridian punks Merchandise haven’t managed to really grab my attention the way they did with thir 2012 EP Children of Desire, even though I still keep giving them a shot. And Spiral Stairs, the revived indie rock project of Pavement’s Scott Kannberg, felt like a slog rather than a celebration of their upcoming record Doris and the Daggers, their first in nine years. I would’ve rather seen a band that was actually called Doris and the Daggers, because they probably would’ve played with much more conviction. I won’t keep my fingers crossed that they’ll get a headlining slot on a big fest any time soon, but there are plenty of real, live, female-fronted bands that certainly deserve a shot, and if this year’s South by Southwest is any indication, their day could be coming soon.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
The venue cited “increasing pressure from the local authorities” and the fines that come along with getting permits to keep the beloved DIY venue open as the reason for closing again. The Facebook post that broke the news stated the team behind Shea Stadium hoped to reopen as soon as possible. The venue’s troubles started in January, when a show was raided by police and the venue closed for a short period of time. Unfortunately, this bit of news segues right into our next item…
NYC Mayor Investigation Finds Small Venues Threatened
Meanwhile, a study conducted by New York City Mayor Bill de Blasio confirmed the thriving economic presence of the music industry in The Big Apple, one that generated $21 billion in 2015 and employs over 30,000 of its denizens, particularly through digital music services and start-ups. This was enough for the some to declare NYC the music capital of the world. But that same study warns that the city’s smaller venues, DIY spaces and artists who frequent them instead of major, corporate venues remain vulnerable, while conveniently forgetting to omit that their permit procedures and strict enforcement of policies are directly responsible for the threat. Read the full report here.
SXSW Removes Immigration Language From Contract
Last week, the music industry was in an uproar over a deportation clause in South By Southwest’s performers contract that threatened international artists with being turned over to the immigration authorities and getting their passports revoked for as little as playing an unofficial SXSW show. A petition was quickly started by Told Slant (who first tweeted about the language in the contract), Priests, Downtown Boys, and many other musicians voicing protest over the policy. After skirting the issue with poor excuses, SXSW apologized and promised to remove the deportation clause. From the writers of the petition: “We applaud SXSW’s decision to stand with immigrants and against ICE, and are thrilled that collective action from musicians has worked to push a massive institution into taking a principled stand on an issue with ramifications far beyond next week’s festival in Austin.” The musical portion of the festival starts next week.
Other Highlights
Listen to Kim Gordon & Mikal Cronin’s anti-Trump song, Chance The Rapper donated a ton of money to Chicago schools, Happy 50th Birthday to The Velvet Underground & Nico, a tech company has an interesting way to influence your fetus’s musical tastes, and there’s a rare, $400,000 guitar burning holes in bidders’ pockets on Ebay.
“Art is inherently political. Art informs politics and politics inform art,” said Priests frontwoman Katie Alice Greer in December when her band played a surprise show at Alphaville in Bushwick. This was post-election, and Greer was comforting a distressed audience, but her stance wasn’t surprising; that America is, in reality, a dark place isn’t news to Priests.
It’s fair to say I’ve been waiting for the release of this record, their debut full-length Nothing Feels Natural, for about three years. I first saw Priests at The Pinch in DC when they opened for Pygmy Lush in late 2013. Out came Greer, clad in a velvet leotard, dancing wildly, crooning and alternatively wailing into the microphone. She hypnotized the audience and then woke them up abruptly. She was shameless and original, endearingly femme but fiercely angry at the same time. I’ve been hooked ever since.
On their first release, 2013’s Tape 2, there is a track called “U.S.A. (Incantations).” Backed by horror punk riffs reminiscent of the Twilight Zone theme, Greer tears America a new one. “When people defend the USA I think of Stockholm Syndrome,” she says, “This place was born on a selfish lie. There is nothing to salvage, no great ideals that just got a little skewed.” Greer’s unabashed statement on the truth of America’s crooked imperialism and inequality made me want to scream, made me think that if everyone in the country listened to this song, maybe we’d get our shit together.
We didn’t. Three years after the release of the confrontational Tape 2, Priests have given us Nothing Feels Natural. In true DC DIY fashion, they eschewed the major label release and put the record out on their own label, Sister Polygon.
What makes Priests’ work so potent is their ability to seamlessly tie together the personal and the political. They shift back and forth between themes, illustrating the ways that our political policy affects the moral climate of our society at large as well as the dynamics of our interpersonal relationships. On the first track, opening like a call to arms with its sparse, precise drumming, Greer sings “You want some new brutalism? You want something you can write home about.” This is true; it’s easy to wonder how vitriolic they’ll get in this present political climate, when they were already warning us about America’s rotten core of white male hegemony back in 2013.
But, surprisingly, they don’t go for the overtly political or rabidly angry. The tone is understated, anger served with sarcastic lyrical slights rather than direct address. This album is a testament to the way that toxic masculinity in our public policy and pop culture sifts through layers of influence until it directly affects us in our everyday lives. On “Jj,” the opening riffs are super surfy, and Greer’s vocals are softer and coy. She recounts the beginning of a relationship, and how, as it often does, something changes instantly and everything’s ruined. The moment she finishes wailing “I thought I was a cowboy because I smoked reds,” the tone of the song shifts. Suddenly the surfy riffs are gone, replaced by way more nostalgic, soaring ones. Greer cries, over and over, “You thought I was disgusting,” moving on to say “I wrote a bunch of songs for you but you never knew and you never deserved them.” She does something inherently unfeminine, and that somehow affects Jj’s perception of her, the beautiful perfect creature she’s supposed to be. Every one of us has felt this way. It’s all so familiar — the emotional labor, the self-flagellation, but also the realization of power.
Priests’ interpretation of America’s toxic masculinity is more inclusive than that though, beyond the mere realm of romantic relationships between men and women. “Pink White House” is a powerful rejection of the so-called “American dream,” the supposed end game in all of this. The problem with the American dream, Greer posits, is that it excludes most of America, in all of its white, Christian, patriarchal glory. She points out the irony, repeating “Anything you want, anywhere you want,” over and over. Growing up we’re told we can be whatever we want to be. But in order to fit in this specific, acceptable mold, you actually can’t. But there’s power in the rejection of that ridiculous standard, as Greer would have it: “I’m really not concerned with what you think / You are just a cog in the machine and I am a wet dream soft and mean thick like steam.” A middle finger to the American dream and the expectations of femininity that come with that, she taunts – don’t you judge me, you want me, you want my life.
Overall, this is a great album. It’s audibly interesting, showing a wider range of Priests’ artistic tastes and never redundant in terms of sound. Mostly, though, Priests took the fire and fury expected of them in the age of Trump and turned that on its head, maintaining their raw spirit, but offering a new, more vulnerable spin. These ten tracks relate to our own vulnerabilities and questions of worth as humans, of whether we deserve to be loved and respected just the way we are.
Just as art informs politics and politics inform art, politics inform our interpersonal relationships and vice versa. In “Lelia 20” she sings, “You are a common thief / You’re still using the braun to get the best of me,” but also, “it could be much worse.” It could, but not in this context. Not if you’re still unhappy. That’s what she’s getting across, that you shouldn’t settle for “it could be much worse,” in your own life and relationships. We deserve more, we deserve better.
Priests knew this three years ago, we just weren’t listening.
It is a goddamn golden age for girl-fronted punk. It’s not that there haven’t been important works by women in the ensuing years, but 2013 saw a Riot Grrrl Renaissance unlike anything since its early ’90s inception. Back then, Kathleen Hanna had to make safe spaces at Bikini Kill shows for female attendees by calling out aggressive dudes. The ladies at the forefront of the movement had to blacklist the mainstream media that painted them alternately as fashion plates, dykes, or whores (sometimes all three, and always with negative connotations; it shouldn’t be implied that to be any of these things is bad or wrong in the first place). By all accounts, they “couldn’t play” anyway, so the medium and its messages were barely worth discussing as anything more than a passing trend. Meanwhile, riot grrrls preached their radical politics one Xerox at a time.
If the wisdom of these women seemed to skip the generation that adored Britney Spears’ “Hit Me Baby One More Time” without criticism, it has finally come full circle in a way that feels vital and urgent now. Not only are we as a culture stepping up to finally examine sexism and exploitation and appropriation within the industry, there are more acts than ever completely unafraid to do their own thing – be it overtly political (see: Priests) or revolutionary in its emotional candidness (looking at you, Waxahatchee). Maybe it has to do with direct influences of stalwart ensembles like Sleater-Kinney and Bratmobile, and maybe it’s a thing that’s happened gradually as those first voices carved out room for other female performers (for instance, in establishing Rock Camps for young female musicians throughout the country, a project that initially came about through discussions and direct action in riot grrrl communities). There’s no way to make an inclusive list of all the phenomenal bands (punk or otherwise) now blazing their own trails through their various scenes but taking a tally of at least a few of these acts felt like a necessity for me as someone whose entire life was informed by music like this, and girls like them. And because fifteen years after I discovered it for myself, 2013 feels like one giant, celebratory dance party/victory lap.
CARRYING THE TORCH
If 2013 is the year female-fronted punk broke, it has to be said that not all 90’s era veterans burned out or faded politely away. In fact, two of the grunge scene’s most influential women put out intensely personal releases this year.
[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]Hanna and Gordon in 1994’s “Bull in the Heather” video
Body/Head, Kim Gordon’s noise project with Bill Nace, created a moving exploration of feminine and masculine tropes in the form of a noise record. I wouldn’t want to reduce Coming Apart to a document of her split from long-time partner Thurston Moore, but the whole thing feels every bit as raw and awkward as a life change that catastrophic must have been. It’s Gordon’s most powerful, wild moments in Sonic Youth distilled down and then blown up. Her vocals can sound desperate and strained at times, but this is ironically the most forceful aspect of the recordings – the anger and the vulnerability existing together in all its anti-harmony.
[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]Kim Gordon and Bill Nace perform as Body/Head in June at St. Vitus
Likewise, Hanna’s record is not a chronicle of her late-stage Lyme Disease, the chronic illness that forced her to quit touring with socially-conscious electro outfit Le Tigre (for that, check out Sini Anderson’s brilliant Hanna doc The Punk Singer) but a testament to the triumph that creating it had over her sickness. Reviving her moniker from ’97’s bedroom-recording project Julie Ruin by adding a “The” to the front and four incredible musicians and co-conspirators at her back, the band released Run Fast in September. It manages to meld every one of Hanna’s prior sonic sensibilities, burnishing the the dance-punk of Feminist Sweepstakes with the sass and cacophony of The Singles and adopting the confessional tone of that first solo record.
This is riot grrrl all grown up; though neither project should necessarily bear that particular label, it feels like a continuation of the story that in turn validates its importance. And the influence of Gordon and Hanna and others of their ilk can certainly be heard in a whole host of bands with break-out records that landed this year. Again, it’s not that anyone in these bands are running around calling themselves riot grrrls, just that they’d be right at home on a playlist with bands who did (and bands of that era, from Red Aunts to Discount to that dog., that demanded my affection as equally).
NEXT WAVE
Katie and Allison Crutchfield have been making music since they were teenagers, most notably in P.S. Elliot before splitting up to pursue creative projects as separate entities. Katie released American Weekend in 2012 and Cerulean Salt in March, Allison released a self-titled record with her band Swearin’ last year and followed it up with Surfing Strange a few months ago. The girls are mirror twins, meaning they’re identical but that their features are reversed in some instances, and that’s a good approximation of how their musical projects merge and divide. Cerulean Salt is stripped down sonically and hyper-focused on thematic subject matter, dealing directly with her family history and its personal stories. Swearin’ takes a music-making approach more classic to pop punk, its subject matter just as earnest but with a broader focus. The two have reunited for one-off projects (like an incredible cover of Grimes’ Oblivion for Rookie Mag) and live together in Philly with their boyfriends (both of whom play in Swearin’). In interviews and in their song lyrics they espouse feminist ideas unabashedly and have talked openly about finding inspiration in the riot grrrl movement.
Speaking of Alison’s boyfriend, Kyle Gilbride produced girl-punk supergroup Upset’s debut album, She’s Gone, out this year on Don Giovanni. Uniting Vivian Girls contemporaries Ali Koehler and Jenn Prince with Patty Schemel of Hole, She’s Gone is a quirky collection of catchy, rapid-fire jams that at first listen might come off as slightly superficial. But at the crux of the record is the idea of examining female experience, in particular the formative teenage years, in which break-ups and female rivalry loom large. Taking what might be written off as juvenile and giving it its due importance in song is what makes the album both accessible and relevant. If it seems precocious to compare one’s dreams to a dinosaur, at least it validates them by re-calibrating the scale.
Don Giovanni put out another astounding release in The Worriers’ Cruel Optimist. Fronted by Lauren Denitzio of Measure, the project seeks to combine her interests in literature, art, and queer activism in a way her past musical projects have not. Over hooky guitars and crashing drums, Denitzio talks about privilege in feminism and the need to re-evaluate personal politics with growing older on “Never Were”, references Jeanette Winterson as a way to talk about androgyny and gender identity on “Passion”, and ruminates on the toll that conservative politics took on a personal relationship in “Killjoy”. The album closes with “Why We Try”, a triumphant reminder of the reasons these discussions still need to happen in music and elsewhere. “If we expect something better / things won’t just move forward / Remember why we try“.
In talking about New Brunswick’s esteemed DIY circuit, we’d be remiss to not include Marissa Paternoster, active for several years now in the punk scene there, releasing work under solo moniker Noun as well as with her band Screaming Females. It’s the latter’s most recent release, Chalk Tape, that sees the band going in some very interesting melodic directions with their particularly searing brand of guitar rock, recording most of the songs without revisions based around concepts scrawled on a chalkboard. Paternoster’s commanding vocals, gliding easily between out-and-out aggressive and tender, looped sophistication, paired with her exceptional guitar work, make Chalk Tape a tour de force. Here’s hoping a few misguided Miley fans accidentally stumbled on the wrong “Wrecking Ball”.
Nestled in another well-respected DIY scene, Northampton-based Speedy Ortiz represent a collective of 90’s-era rock enthusiasts with a poet at the helm. Sadie Dupuis feels more comfortable behind a guitar than on open-mike night, but the lyrics she penned for Major Arcana and delivers with brass are practically worthy of a Pulitzer. Razor sharp wit, slyly self-deprecating quips, and vitriol marked by vulnerability characterize the general tone of the record, its particular lyrical references so nuanced and clever it begs about a million listens.
Potty Mouth sprang out of the same scene when Ally Einbinder, frustrated with the difficulties of booking shows and playing in bands with men who rarely asked her input when it came to songwriting, decided to form and all-female punk band. Einbinder and her cohorts are frequent participants in Ladyfest, which has sought to showcase feminist artists across different mediums for thirteen years running. Bursting with energy and attitude, Potty Mouth’s debut Hell Bent calls bullshit on punk scene bravado, questions obsessive tendencies, encourages punk girls in small towns “it-gets-better” style, and delivers acute, sharp-tongued kiss-offs to any doubters.
Though the pun alludes to classically trained harpist and witchy-voiced weird-folk patron saint Joanna Newsom, Alanna McArdle and her compatriots in Joanna Gruesome stray pretty far from that reference point. Instead, the UK band cherry-picks from shoegaze, twee, and thunderous punk with Adderal-fueled ferocity. McArdle is a study in contradictions, one moment singing in a sweet-voiced whisper and the next shouting psychotically, often about crushing skulls or some other, equally violent way of expressing her twisted affections. The group met in anger management, and every second on Weird Sister sees them working out some deeply seated issues, the end result proving what a gift anger can be.
NEXT YEAR
This particular calendar year, it seems, is only the beginning. With a record crate’s worth of amazing releases from 2013, there’s a bevvy of bands with bandcamp profiles, demos, EPs, cassettes and singles that hold a lot of promise for future releases. Across the board, when asked how their bands formed or when they started playing, the response is “I wanted to do it so I got a guitar and I just started playing.” The DIY ethos and “fuck it” attitude are what make these projects so vital and exciting.
Priests
The DC group are explosive live, in particular thanks to Katie Greer’s spastic growl and Daniele Withonel’s revelatory drumming. The band’s been known to spout off about anti-consumerism between songs, out of breath from the high-energy set, but there’s plenty of radical content in their self-released tapes, too. Those searching for manifestos need look no further than “USA (Incantations)”, a spoken-word bruiser that skewers the non-inclusive founding of America and ends with “this country was not made for you and it was built on lies and murder”; it kind of makes me want to vote for Priests for president. Elsewhere on Tape 2, Withonel steps from behind her drum kit to flip the script on the male gaze, with perfect Kathleen Hanna pitch. Whether they’re singing about Lana del Ray or Lillian Hellman, these self-described Marxists provide an electrifying listen.
Perfect Pussy plays notoriously brief shows – if you blink during their set, you’ll miss ’em – but all have played the Syracuse scene for years now. The quartet got a lot of attention this over I Have Lost All Desire For Feeling, a four song EP with walls of guitar fuzz and synths and some forceful vocals from Meredith Graves buried low in the mix. Trained in opera but trying out punk, she’s said that because she’s insecure about her singing they’ll likely stay that way when the band records a full length. But it’s not because she’s trying to hide her words – you can read them by clicking through each song on Perfect Pussy’s bandcamp. They are well worth extracting from the sludge, coming across like a Jenny Holzer send-up of rape culture, mixed in with some personal meditations on growing past a female betrayal and catharsis through relationships thrown in for good measure.
Ellen Kempner writes off-kilter lyrics that perfectly distill the wonder and worry that comes with being a teenager, but with a wise, almost nostalgic tone that does not belie the fact that she is, actually, a freshman in college, living these experiences for the first time. Her musician father taught her how to play guitar, and in high school she was in a band called Cheerleader before releasing some solo recordings that morphed into Palehound. Their excellent Bent Nail EP came together this year, featuring the quintessential “Pet Carrot”, which seesaws from sing-songy folk to scuzzy 90’s grunge more reminiscent of Liz Phair than of Lorde.
The Philly trio are a perfect picture of female solidarity, repping other girl bands from Philly in interviews and inking their bodies with matching arrow tattoos, as well as getting involved with Philly’s Ladyfest. They sing about friendships and loss and the city around them with a raspy roar, holding back just enough on their three-song demo to hint at the spaces they’ll grow into.
Coming out of Columbus, Ohio’s great lo-fi scene (which bands like Times New Viking and Psychedelic Horseshit helped build, and contemporaries Sex Tide and Connections will only continue), All Dogs take that same energy and clean up the grime just a bit to let Maryn Bartley’s hopelessly catchy vocal melodies shine. There’s a youthful exuberance and earnestness that propels the material on their split cassette with Slouch and their self-titled 7″ released on Salinas Records. The Crutchfield sisters have been big early supporters; Katie booked them as openers on an upcoming Waxahatchee tour after saying they “made her cry”.
About an hour south in Cincinatti, Bridget Battle takes an endearing 60’s girl group intonation and spits it snottily into a microphone while her bandmates in TWEENS play messy, immediate punk rock. Their CMJ performances earned them rave reviews and helped them release a bit of the energy they’d pent up during the recording of their first full-length in DUMBO, set to see release sometime this spring. Until then, they’ll be touring with fellow Ohioans the Deal sisters for The Breeders’ extended reunion shows.
“I don’t care what you think as long as I can’t hear it / I’ll be a fly some other place. / I don’t care what you do / As long as you stay away from me / I can’t stand the way you do the things you do.” So begins “All the Girls” from Heavy Bangs’ bandcamp demos. It’s a departure from the quirky indie pop Cynthia Schemmer played as guitarist for Radiator Hospital, but it takes cues from the same attention to clever melody. The best indication of what might come from her solo project are the artful and contemplative postcards she posts to her tumblr (http://cynthiaschemmer.tumblr.com/) before sending them to to friends, apologetically explaining why Philly drew her back after time in New York, or recounting conversations she had with a therapist over the loss of illusions. Like the two tracks she’s shared, these can feel sad but are intently self-aware, the attention to detail speaking volumes between the lines.
Are those alive in a golden age ever able to really realize it? Or can it only be understood by looking back? With the passage of time we grow older and wiser and we’re better able to put things into context, but there are some moments that are simply meant to be lived. If you’re not screaming at the top of your lungs to these records or dancing in the front row at one of these shows, you’re doing it wrong.
