{"id":5609,"date":"2013-12-19T16:16:45","date_gmt":"2013-12-19T21:16:45","guid":{"rendered":"http:\/\/www.audiofemme.com\/?p=5609"},"modified":"2018-08-09T17:15:46","modified_gmt":"2018-08-09T21:15:46","slug":"year-end-list-afs-guide-to-riot-grrrls-influence-in-2013","status":"publish","type":"post","link":"https:\/\/www.audiofemme.com\/year-end-list-afs-guide-to-riot-grrrls-influence-in-2013\/","title":{"rendered":"YEAR END LIST: AF’s Guide to Riot Grrrl’s Influence in 2013"},"content":{"rendered":"

It is a goddamn golden age for girl-fronted punk. \u00a0It’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. \u00a0Back then, Kathleen Hanna had to make safe spaces at Bikini Kill shows for female attendees by calling out aggressive dudes. \u00a0The 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). \u00a0By all accounts, they “couldn’t play” anyway, so the medium and its messages were barely worth discussing as anything more than a passing trend. \u00a0Meanwhile, riot grrrls preached their radical politics one Xerox at a time.<\/p>\n

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. \u00a0Not 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). \u00a0Maybe 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). \u00a0There’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. \u00a0And because fifteen years after I discovered it for myself, 2013 feels like one giant, celebratory dance party\/victory lap.<\/p>\n

CARRYING THE TORCH<\/h3>\n

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. \u00a0In fact, two of the grunge scene’s most influential women put out intensely personal releases this year.<\/p>\n

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\"Kathleen<\/a>
Hanna and Gordon in 1994’s “Bull in the Heather” video<\/figcaption><\/figure><\/p>\n<\/div>\n

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. \u00a0I wouldn’t want to reduce Coming Apart<\/em> 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. \u00a0It’s Gordon’s most powerful, wild moments in Sonic Youth distilled down and then blown up. \u00a0Her 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.<\/p>\n

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\"Body\/Head<\/a>
Kim Gordon and Bill Nace perform as Body\/Head in June at St. Vitus<\/figcaption><\/figure><\/p>\n

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<\/em><\/a>) but a testament to the triumph that creating it had over her sickness. \u00a0Reviving 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<\/em> in September. \u00a0It manages to meld every one of Hanna’s prior sonic sensibilities, burnishing the the dance-punk of Feminist Sweepstakes<\/em> with the sass and cacophony of The Singles<\/em> and adopting the confessional tone of that first solo record.<\/p>\n