My Favorite Ladies of Lightning Are BACK!

Thunderpussy (Whitney Petty, guitar & Molly Sides, vocals) performing live at Belltown Bloom 2023; photo by me (which is why the quality is so bad – sorry)

I’m currently writing at least two other posts for this blog, but I guess I’ll have to add a third to that amount because there is NO WAY that I’m going to write this post and then NOT follow up with an album review.

By “my favorite ladies of lightning,” I of course mean THUNDERPUSSY! (All caps not a legit style choice – I’m just excited, because I love them.)

THUNDERPUSSY ARE BAAAAAAACK! With WEST! (All caps – the actual style choice, no exclamation point included.)

I’ve been wondering since 2019 (New Year’s Eve of 2018/2019 was when I first saw Thunderpussy live) when Thunderpussy would release their second album, and while I completely understand a reassessment of the band’s goals after the worldwide shitshow that 2020-current became, I am SO HAPPY and excited that their next album is coming soon – May 10th, to be exact! (I already pre-ordered the album, but I am anxiously awaiting to find out when/if they release a CD of the album. It’s the next-best choice in terms of affordability while still cherishing the physical media aspect; a step up from digital albums in every way, but you’re probably not paying an arm and a leg like you are for the vinyl, even though I am a vinyl collector, myself, but…clearly, mostly of old albums.)

I know WEST is coming out on May 10th, and that’s less than a week away (YAAAAAAY!) from the time I’m posting this, but I’ve been obsessively listening to the three singles available to listen to from the album since I waited to listen to them until my birthday (April 27th), and what a TREAT it was and has been ever since to hear them. So, yes, I’m here to scream about a measly (but oh, are they mighty) three tracks that have reminded me why Thunderpussy are one of my favorite bands, and why I’m proud to have seen them live seven times and why I hope to see them live MANY MORE TIMES!

Since “Firebreather” as a single has been out for over a year now (I had to search my other blog to verify that time frame), I have to admit that the first time I heard it, I wasn’t that impressed. That’s even considering the fact that I’ve seen and heard them play it live. I’ve always liked it live, actually! But the studio version really never grabbed me the way the live version of it could. I’m not sure if it’s the hype I’ve now created (and fueled) in my mind in relation to the new album or what, but I’ve heard it with fresh ears now, seemingly, and the track fucking ROCKS. I even managed to transcribe the lyrics to the first verse (uncertainly, but I tried my best), and when I say it rocks…oh, it doesn’t just rock; it kicks ass and takes names.

“Firebreather, welcome to the west side
Living my life, like I’m born out the dust
Get off my back, you son of a bitch!
Gonna take my time and take some chances
Lead the way, spark a change while we’re dancing
You are mistaken when you fuck with my life!”

My favorite line in the first verse is “Lead the way, spark a change while we’re dancing” because if THAT DOESN’T DEFINE THUNDERPUSSY’S MISSION STATEMENT, THEN I JUST DON’T KNOW WHAT DOES. And I, as a fan, will clarify that I absolutely believe that Thunderpussy “lead the way” and “spark a change while we’re dancing,” but that it isn’t just a message about them – it’s also their hope for us, as listeners, fans and lovers of music, and, ultimately, community members.

Musically, “Firebreather” burns hot! The drums, provided by Michelle Nuño, are creative and fun and hard-hitting in the way I’d hope to hear from Thunderpussy, the basslines, provided by Leah Julius, are positively SMOKING, and Whitney Petty’s hard rock guitar underscores the rough edges of the song’s lyrical themes – and that guitar solo is a distorted, psychedelic-dyed mural I am more than happy to gaze upon. Molly Sides’ vocals are rock-appropriate gravelly in all the right places, but there are a couple of instances in the song where I felt her performance did not quite match the conviction of the the line she was singing – such as, in the extraordinarily powerful line “This body ain’t an apology!” Either she went a little flat singing the word “apology,” or I just wasn’t wholly convinced that she was singing it as sincerely as possible…both could be the case, and I hope to hear it sung better/with more certainty live, which I’m sure she will accomplish! Nonetheless, this is one of the three singles in particular that I have been listening to OBSESSIVELY on repeat. So, critiques aside, I’m obsessed with it, and I cannot WAIT to hear it live again – properly, as part of WEST!

“I Can Do Better” is a song that starts out contemplatively slow, but it glows with anticipation promised by the chorus: “I can do better – lord knows I’ve tried/I can do better, just not forever/Only tonight”. That it lends itself to a beautiful strings arrangement only heightens that expectation! And have no fear; the hard rock element that Thunderpussy is famous for remains, as the slow build of the melodic ballad erupts in the chorus and floats into the divinely epic bridge. Musically, it’s atmospheric and gorgeous, with all musicians (Sides, Petty, Julius, and drummer Lindsey Elias) in top form playing with the expertise that I’ve always personally witnessed and recognized from them.

The natural (as in: of nature) lyrical imagery in “I Can Do Better” seems purposeful enough in adding to the chorus’ concept of “I can do better, just not forever”. While I feel it unabashedly leans on apocalyptic themes musically and lyrically, it seems to suggest that languishing in destruction is necessary to spark hope for new growth; after all, in nature, a wildfire does not always mean eternal death – sometimes things must die in order to recover and thrive even better than before. “I can do better” as a phrase, alone, is an acknowledgement that one has failed to do well enough at one time, but that one can improve in the future/next time. I also imagine that the ‘serpent’ in the lines “The wind picked up and the blades of grass/Show us the serpent, reminding us to rest” represents the ouroboros – the snake or dragon eating its own tail symbolizing an eternal cycle of renewal, or the cycle of life, death, and rebirth. (Although “the serpent” may also be a nod to the band’s debut album cover, as well. It was where they started, and they needed rest to come back with WEST!)

Based on those ideas, I would recognize “I Can Do Better” as Thunderpussy’s true ‘return to form’ (and even better than before) track – perfect for the album’s official, first single.

The first time I heard “N.E.D.”, within the first few seconds I thought, ‘Oh, SHIT, THEY ARE SO BACK!‘ THIS is the Thunderpussy that I love! After listening to this song, I think I know why Thunderpussy named this album WEST…besides: the existence of its title track; and “Firebreather”‘s reference in the opening verse, “welcome to the west side”, which also shares this musical influence I’m about to mention; it reminds me musically of themes they explored in their EP Milk It, which I loved, but particularly through the track that sounds like it would perfectly accompany a spaghetti Western, “Trust A Man.” (Side note: I’m a little surprised that “Trust a Man” isn’t on WEST.) While I still have no idea what N.E.D. stands for, musically and lyrically it’s like introducing the wild west to hard rock and lesbians (respectively). Smashing stereotypes everywhere they go – what’s not to love?

My only complaint about this recording (not even necessarily the performance) is that I feel the drums were turned down FAR more in the mix than they should have been. While I hear lots of delicious bass, layered guitars, and KEYBOARDS (FUCK YES, KEYBOARDS IN ROCK MUSIC. ALWAYS! But, then again, my favorite band of all-time is Tom Petty and The Heartbreakers, who would not have been a band AT ALL had it not been for their keyboardist, Benmont Tench), I feel that such a hard rocking song (despite the western-themed melodies) SHOULD have plenty of loud drums. And they’re not loud enough in this – at all! Sure, I could turn the volume up on whatever I’m currently blasting this song out of, but the point remains: why should I have to sacrifice my hearing ability just to hear some good, hard-hitting drums in the mix? Great, that I can hear EVERYTHING else – and it sounds amazing – but, really? You’re going to sacrifice the volume of the drums just to make everything else intelligible? I think…some better decisions could have been made regarding the recording/engineering/mixing of this track (I’m grouping those three tasks as one optionally, because I don’t know how any of them are accomplished, and thus I do not know who exactly was responsible for this…but as barely a musician, myself, and mostly a fan, I can at least make that inference).

Regardless, since my first listen-through of the three singles, “N.E.D.” was the song that I immediately put on repeat. Excluding the volume of the drums, it reminds me of their eponymous song “Thunderpussy” – badass, daring, deliciously distorted rock and roll about wlw (women loving women). Need I say more?

If you happen to catch Thunderpussy’s live introduction to WEST at Benaroya Hall on May 10th, I’d LOVE to hear about how the album translated to a live performance accompanied by a full symphony. I unfortunately will not be able to experience this undoubtedly momentous occasion, myself (I’m hoping the next tour that Thunderpussy embark on will include my Greater Seattle area town – easier for me to get to and get home from), but I feel as stoked for the band’s performance as if I were going to witness it personally, anyway! That’s what it feels like to be part of the community that loves, follows, and leads with Thunderpussy – we are with them as much as they are for us, and anyone who doubts the impact that good music can have might as well be a firebreather.

“Hey Bulldog”: Who Did it Better?

In truth, I’ve posted and written about Fanny’s version of this song, “Hey Bulldog”, so much already, but I’m writing this new post because I’ve found that I actually do have something different to say about it, and I want to do so by intentionally comparing it to the original version.

If you aren’t already familiar with The Beatles’ version of this song (the original version), 1) you’re lucky, and 2) I would actually like to ask that you check it out for the purpose of this post (and I am embedding it here for your convenience).

When I listen to The Beatles’ version, I hear the end of the band. I hate to say that, because The Beatles’ material among their last three/four albums are my favorite from the band’s entire career, but I’m being honest. I hear their no-longer-togetherness in the production, of so many important parts of this song being recorded literally separately and overdubbed. And maybe my comparison for the sake of this post won’t land quite the same way because, in this case, I’m comparing Fanny’s live version of this song to The Beatles’ studio recording of it (since they never played it live), but trust me when I say that doing this is better…because if I compared The Beatles’ version of it to Fanny’s studio version of it, my comparison would be so much worse than it already is (for The Beatles; not for Fanny).

Listening to The Beatles’ version of this song, besides sounding detached, it strikes me how clinical it sounds. Maybe part of it is the production, but it sounds sterile – way too sanitary and overly polished for the lyrical AND musical thematic content of the song. It just doesn’t work quite as well as it could have, had it been more of a group/team effort in recording it.

Now, to finally address the version of this song that I posted and mentioned first – Fanny’s version of this song – I’m going to try to avoid reiterating my favorite thing about their version of this song (the extra verse they added in, which they got permission from the ex-Beatles themselves to add). Focusing on this particular live version of it, let’s talk about the way it opens – slowly, with Nickey Barclay’s piano not quite touching the main riff that opens The Beatles’ version, and June Millington’s fuzzed out guitar building toward the first verse.

Not only do Fanny purposefully choose not to introduce the song with its recognizable intro riff (which most people, whether they’re familiar with The Beatles’ music or not, can probably acknowledge as something they’ve heard before at the very least), but by letting its intro build slowly, they literally give the song space to distinguish itself from the original version. You’ll probably also notice that the pacing of Fanny’s live version drags a little bit, but that’s only a critique afforded to this live version. In spite of that, you know what else I hear in this live version that’s far – vastly – different from The Beatles’ version? Life. By god, I hear life. This song is living, breathing! Don’t you know the slower pace is just its heartbeat, steady and patiently willing to fulfill its lyrics’ very promise: “If you’re lonely, you can talk to me”?

And in that vein, something I believe I have talked about before, is that is how and why this song succeeds (far better than The Beatles’ version ever did) – because the way Fanny plays this song is honestly, graciously, and openly inviting discussion. “If you’re lonely, you can talk to me,” because “I know just what it’s like to listen to my fears,” and “You think you’re going/But you haven’t got a ride” (bolded lyrics and last quoted lyrics are Fanny’s revision and Fanny’s original verse, respectively); in spite of John Lennon’s dark and unsettling lyrics, Fanny’s version is championing empathy. Even Barclay’s adorably ad-libbed “Come on, bulldog! Dry your feet now!” is offering space for patience and empathy.

Somehow, too, I find that June Millington’s guitar solo is more vivacious, more realistic, and in that regard more interesting thematically for the song than ~~John Lennon’s~~ ~~George Harrison’s~~ ~~whichever Beatle actually played it~~ the original version’s solo which is fittingly volatile but only underpins what we already know and understand about/in the song. The lively nature of Millington’s guitar solo seems to indicate this idea that, ‘in spite of all of this paranoia and self doubt ~~and also maybe the dark, vaguely threatening tone of my guitar~~, I’m open-minded.’ The riff with which it fades into the outro works similarly, but as a steady reinforcement that it’s true – that it’s being honest. Maybe that sounds crazy and unrealistic, because how the fuck do instruments sound like they’re telling the truth versus lying, but surely it also comes down to musicianship. And there is little to no dishonesty in June Millington’s guitar playing ever. And I would be remiss not to mention that the rest of the band’s musicianship reflects similarly, and if it didn’t, this version would sound a lot more like The Beatles’ version than it does, so: Fanny’s “Hey Bulldog” would certainly not succeed as well as it does without the essential rhythmic melody of Nickey Barclay’s piano (the piano riff, which this song was originally built around), nor the steady and groovy support of Jean Millington’s basslines or Alice de Buhr’s unwavering timing and straight-ahead, badass drumming, without which this song’s heartbeat would have very little heart, let alone a beat! Simply stated, if it were not for all of these elements working together honestly and empathetically (and also: joyously! You can tell in the performance that they’re all having fun! ~~Try not to judge de Buhr, though; that’s just her usual intense face of concentration, which I love~~), it would not have that necessary tone of a collective effort. And that’s the tone that was missing from the original version all along: the tone of collectiveness!

Fanny’s version of this song is everything the song should have been. And if you haven’t heard Fanny’s studio version of “Hey Bulldog” off of their astounding album Fanny Hill (1972), I say to you: good luck. ~~I find it difficult to restrain myself from listening to it on repeat for four hours minimum.~~ Aren’t we lucky that it had the consolation of existing, after all!

Happy Black History Month!

In honor of Black History Month, acknowledging the area of music I most like to listen to and learn about, I collaborated with a friend to curate a playlist made up of music by the Black women (as frontpeople, musicians, and songwriters) of classic rock¹. It is very much meant to represent the history of Black women in rock, as it is organized in chronological order by the dates that singles or albums were released. Do understand that this is an inexhaustible list – no artists or bands within the parameters of the playlist were left off intentionally, and if you alert me to any who I forgot or if I learn of more artists/bands on my own, they will be added in time!

Which leads me to one other note I must make: while this playlist was curated in honor of Black History Month, it’s important that these artists/bands AND contemporary Black artists/bands ALL be appreciated and recognized for their talent and contributions to music throughout the entire year! (Which is also why I think it would be appropriate to continue adding to the playlist through the year – but that’s just my thinking.)

If you check out this playlist – which I sincerely hope you will – you may think it’s long, or depending on who you are you might think it’s too short. (I think it’s too short.) If you believe the latter, then don’t fear – the playlist is actually incomplete from how I originally compiled it because a few artists could not be found on Spotify. Luckily, I’ve added the missing artists to a Youtube playlist², so you can either rediscover some artists/bands you once heard and forgot that you enjoyed, or you’ll get the chance to learn of some new-to-you artists and bands! Either way, I hope you’ll find these playlists enjoyable, because I certainly do.

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We Need to Talk About Romeo Void

So here’s a band I haven’t yet had the chance to talk about much, which seems like a crime because they’re easily one of the greatest GEMS of the ’80s. (And considering I’m bringing up the ’80s, even though, uh, I love ’80s music…and I’m calling them a gem…just give them a chance if you don’t already know of them. Trust me.)

Romeo Void’s music makes me ecstatically happy. What doesn’t make me happy is realizing how little their music is known or acknowledged, especially today. I don’t expect them to be considered on the level of ’80s pop greats, but in terms of new wave and post-punk bands, they have all the distinctiveness of being remembered alongside bands like The Pretenders, Talking Heads, and Siouxsie and the Banshees.

What’s so inspiring and amazing to me in spite of the band’s short-lived career is how unapologetic lead vocalist Debora Iyall was as a singer, songwriter, and frontperson. (Not to leave out or ignore the equally great musicianship of the band: guitarist Peter Woods, bassist Frank Zincavage, saxophonist Benjamin Bossi, original drummer Jay Derah and proceeding drummers John Haines and Larry Carter.) Iyall should undoubtedly be one of the most recognized Native people in pop/rock music, especially in regard to her nonconformist attitude and commitment to the DIY spirit of punk rock. Her resolve to form the band, and as the frontperson, should also be more acclaimed as a woman and as a fat woman, proving that music (and most importantly, rock music and music maintaining punk ethos) could be wielded despite race, gender, and bodily appearance/ability, and one could in fact prosper by drawing strength and creativity from these facets. You might think I’m being optimistic when I suggest one can ‘prosper’ from drawing on those facets – please be aware that I do not necessarily mean in mainstream, capitalism-conforming ways. 😉 If you’ve read my blog(s) before, you should know I believe in success beyond societal and capitalistic definitions.

Everything that categorizes rock music as great rock music is easily found in Romeo Void’s music, from the band’s growth sonically and creatively to Iyall’s command of it as their frontperson. But I know it’s a lot to ask for you to just believe me without hearing them (if you haven’t already), so let’s consider some of their greatest gems in my opinion.

Since I like to go chronologically, It’s a Condition‘s first single “White Sweater” is an excellent example of their burgeoning influence, the way it builds and how the story it tells is one that, by then, had not really been explored in music, especially from the perspective of a frontwoman. Not to mention that musically, the tension created by the bass line (by the way, Romeo Void has some of the best bass lines, I think), accented by the guitar and quick-paced beats, and then released by Iyall’s sustained wail wholly supports the theme of the song and makes it notable. Also, the fact that the song speeds up toward the end instead of choosing the easy pop-route and changing keys is another noteworthy method that points toward the band’s punk-focused influences over just pop or rock. And another thing: this was just the beginning of Romeo Void and the evolution of Iyall’s songwriting style (not to mention artistic style, too: Iyall is responsible for the album’s cover art). They set the stage for themselves with a song like this, damn what everybody else was doing. The clear dance element in their music and the addition of a saxophone is also what sets them apart from new wave, punk, and rock bands during that time, especially in the United States. Romeo Void were indie by those standards, but they knew what they were doing.

Now the song that anyone who at least knows of Romeo Void would know – the bold declaration that “I might like you better if we slept together/but there’s something in your eyes that says maybe…/that’s never/never say never.” As I alluded to, Iyall had no qualms singing about controversial topics like sexuality, in this instance. But as it originated from a fat Native woman, you pretty much can’t get more punk rock than that; leave it to a Native woman to embody the genuine spirit of punk rock by shamelessly telling her story and subsequently epitomizing important ideas like feminism and decolonization during a period when such an act was rare to find or hear in music. However, truth be told, I’m not the biggest fan of this song. While I’m intrigued by the story it tells, the music isn’t quite my taste as far as Romeo Void’s music goes. But I must acknowledge that it matters as a piece of music and as a part of their discography, and that I cannot talk about them as a band without showcasing it. ~~By the way, the video is kind of cheesy but I love the studio scenes where the band’s performing – it’s so cute. Don’t judge me for saying that.~~

Finally, this song is, to me, the nitty-gritty of what made Romeo Void great. Lyrically, it follows the evolving themes of Iyall’s songwriting style, which I would define as exposing double standards and, at the same time, reinforcing her humanity on behalf of herself and underrepresented groups. (I can’t be sure she would agree with my estimation ~~especially if she never took herself that seriously! Oops~~, but that’s how I see and understand the themes of her writing – telling the truth because it’s her truth, as well as acknowledging countless others’ truths which are often inaccurately represented.) At the same time, I think you could also hear the band imploding in this track – seeing as this was on the last album they released, the tension musically and lyrically seems obvious. But just look at The Beatles and Fleetwood Mac – tension like that is what made great music, historically. Although it does seem like the album might’ve benefited from that considering it reached #68 on The Billboard 200 chart, and the single “A Girl in Trouble (Is a Temporary Thing)” peaked at #35 on the Billboard Hot 100 chart – so I can’t complain too much about that. While “A Girl in Trouble (Is a Temporary Thing)” is definitely my favorite track on the album, “Your Life is a Lie” stands out to me as an altogether interesting song in a way that makes me think it could’ve been skipped over in consideration of the album; in other words, it’s a real gem.

Now, I know that I heaped tons of accolades onto lead vocalist and songwriter Debora Iyall (she is amazing, though, so sorry not sorry), but I mean to say that the band as a unit is equally as important and part of the appeal, to me. While they had a couple lineup changes when they were first together and releasing albums, they still managed to sound cohesive throughout their discography which makes their music so worthwhile. While I can’t ignore that it must’ve helped to have such an uncompromising, visionary frontperson as Iyall, the band’s instrumental tracks like their cover of “Apache” and their song “Going to Neon” showcase their creativity and investment into coalescing as a group – perhaps besides co-founder Frank Zincavage’s distinguishable bass lines which obviously carry much of their music, there seems to be little perceptive ego present. (Besides, egotistical bassists seem pretty rare, so I don’t see a big downside to that for them, anyway.) Maybe it’s my opinion that less ego musically results in a better, more consolidated sound, but honestly, what music is really worthwhile that chiefly pays tribute to one or two instrumentalists and sidelines the rest? You know? Maybe it works for one-person bands or duos, but especially for bands of four members or more…that just wouldn’t seem right. ~~So if that were the case, then by definition, it shouldn’t be “a band.”~~ Perhaps it would work all right for studio musicians, though. But as far as my ears can tell, Romeo Void fit the description of “a band,” and that’s an important element to acknowledge.

I could probably go on and on about Romeo Void, honestly, but for an intro post to them, I think I’ll leave it at that. I would love to analyze their lyrics or perhaps review one of their albums some time, though, so don’t think this is the last time I’m discussing Romeo Void – they are SO worth mentioning on more than one occasion.

Happy Birthday to Alice Bag!

Alice Bag deserves all the happy birthday wishes in spite of the fact that I’ve kind of dropped the ball this year posting happy birthday wishes to my favorite musicians ~~especially since I abandoned my other blogs~~. So I’m not letting her down!

Y’all should check out her discography if you didn’t see my excessively detailed reviews of her albums already, and you can find her discography on Spotify, Youtube, Bandcamp, and other music streaming platforms. (But you should also buy her albums, if you can. TRUST me – they’re worth it. You will not be disappointed.) One thing I wanted to add that’s so amazing about her and her career in music: to me it seems like she’s sincerely continued the DIY tradition of punk rock, all the way up through now. Which – just saying – makes her a true representative of punk rock. You can’t say that’s not respectable…

In honor of it being her birthday, and knowing how steadfastly she supports and promotes other women musicians, I’m also listening to the band Fea for the first time, and I’ll probably continue my weekly tradition of listening to Fatty Cakes and the Puff Pastries (because I adore them and their music!). I’m not done listening to Fea’s album yet, but so far I’m impressed and I appreciate their music a lot!

So happy Alice Bag day! It’d probably also be appropriate to put a paper bag over your head and jam out to some badass punk rock (by women, for sure…or by fellow Chicanx/Latinx! I’m sure that’d also be great!).

Thunderpussy/Sleater-Kinney SCREECH

I haven’t talked about Thunderpussy or new music in awhile, I feel like, so excuse me while I yell about it for a bit.

If y’all didn’t know, allow me to update you: Thunderpussy released their second EP Milk It today and it’s all I’ve been listening to since about 1:30am (I thought I was going to check it out right at midnight but I lost track of time).

I’m not intending for this to be a review exactly, but my basic thoughts about it are that I’m a fan of every song except for “Powerhouse.” Conceptually, I want to like “Powerhouse” (it’s like the rock version of “Dear Mama,” but from the heart of women – no offense, Tupac), and musically it’s nice, but something about the vocals bothers me. I’m not sure if they could’ve been mixed better or maybe if lead vocalist Molly Sides could’ve enunciated better (“And she’ll take you out” would seem a lot more forthright if I could be sure she was saying “out“), but when I listen to it I just feel like it could be better. Honestly, I wondered if performing/recording it with their drummer might make it better. Even though I have yet to personally see them live with Lindsey Elias, from what I heard of recordings they posted of shows at the beginning of their tour, Elias just seems to work really well with them. Not that I’m questioning Chad Smith’s or even Elias’ abilities, but like I’ve said before…drummers are not that easy to replace. I think they just sound good as a band with Elias, which is lucky since Ruby Dunphy was SO FUCKING GOOD. But I digress.

Otherwise, “Never Know” is an instant classic that I already figured out is about performing, “On the Line” is completely gorgeous and the strings are so unexpected but it makes me cry so I love it!, and I’ve been listening to “Trust a Man” on repeat for the past five hours so that’s how I feel about it (it’s important – especially the sentiment in the chorus), plus I vividly remember hearing this when I saw Thunderpussy live in June which makes it that much sweeter. I’m definitely trying to savor this EP before I start wondering when their next album comes out and what it’ll sound like. I think there’s great likelihood that they’ll wholly improve on their debut album when their second album comes out (which is to say I believe that their next album will be AMAAAAAAAAZING).

There is another band whose new music is also worth mentioning, though, and that would be Sleater-Kinney. (That, and now I get to mention that I’m officially seeing them for the first time next month and I will SCREAM about it every day until the day of the concert because I am that excited. I feel like, in terms of amazing rock bands that I’ve become obsessed with over the past few years, I HUGELY missed out on getting to see Pearl Jam live last year, so I’m not missing my chance to see Sleater-Kinney!) They put out their newest single “Animal” earlier this month and I listened to it soon after it was released, and man, it knocked me out. On one hand I felt like it was a song written and put out in response to The Center Won’t Hold naysayers – as though to prove they could reach for their roots any time they wanted (and that Corin Tucker could wrangle her rock vocals into a new arrangement any time she damn well pleased) – but I could also hear it as an extension of the album’s social commentary leanings, which I completely appreciated. And this might sound strange, but musically – not lyrically – the song reminds me of Halloween which makes me think it was released at an appropriate time, too.

Basically, I’m just super excited about some of my favorite bands’ new music, and I’m even more excited to see them live.

And now, for the first time in a long time, I get to brag about the bands I’ll be seeing this year (unless another artist/band chimes in that they’re touring/performing at a venue near me, in which case it might be more) in addition to new music excitement: Sleater-Kinney in November, The Black Tones in November, and Thunderpussy with Bear Axe on New Year’s Eve (a couple other bands who I’m mildly interested in will also be playing, but out of them I’m most excited about Bear Axe who I’ve already listened to). Not to get too off topic, but considering I didn’t get to go to my first concert until 2015, the fact that I’ve been to three shows this year and am planning for three more is a dream I didn’t anticipate having for a LONG time. ~~Maybe six shows doesn’t seem like many to you but my record of seeing bands live is two in one year, so this year has DEFINITELY improved for me!~~ It’s a good year for live music, apparently. It’s a good year for music, too, I must add, if you look in the right places.

Why Fanny Should Be the First Band of All Women To Be Inducted into the Rock & Roll Hall of Fame

I’ve been meaning to post this article since I wrote it earlier this year, and I finally posted it! I don’t know if I’ve posted it in time to make any difference at all for the Rock & Roll Hall of Fame, but who cares – it’s important to know of and think about at any point.

It’s here on Medium.

Finally I fulfilled my goal of writing about Fanny and why they’re so important. But one day, still, I would like to write about things I didn’t mention in this article – like the blatant, inherent sexism that has plagued bands of all/mostly women, perhaps starting with Fanny, and which has literally affected their music. If you think sexism is just a thing subtly thrown at [women] via phrases and means of marginalization…well, as far as music goes and how much I know about it, just consider the fact that sabotage has also come into play. That’s what I’m going to write about eventually. So look out for it one of these days!

Of All the Punk Bands…

At this point, I’ve forgotten how long it’s taken me to officially write about More AM Than FM, but of all the punk bands I would want to recommend and to see live, they’d be it. Yep, really! Of all the punks bands, More AM Than FM is my favorite quintessential punk band.

If you’re wondering how someone all the way out on the west coast of the United States found this D.C.-based band, I learned of them when I was doing research for my old blog, perusing Wikipedia’s [not comprehensive – not even close] list of “all-female bands.” It still surprises me that their band name intrigued me enough to forget my research and immediately start listening to them, especially considering my tendency to ignore contemporary bands (not ignoring due to preconceptions – just for the purpose of my blog which documented women in rock music history), but I did and I have ever since been grateful for that impulse.

The first time I heard “Andre,” I was immediately blown away and excited by their sound and the arrangement references to classic punk rock. And as I kept listening to their first EP, I realized, Holy shit. There is not a SINGLE bad song on here! Which is to say, there was not a single song on the whole EP that I didn’t like. While that may not be super impressive considering I was listening to an EP and not an LP (I’ll admit I can be much harder to please when it comes to full-length albums), it was still significant enough to me to continue listening to their next EP. And again I realized there was not a single bad song on it, either. So basically, they don’t have any bad songs.

When I think about them now, since I’ve been listening to them for over a year, I fervently wonder what their first LP will sound like, because based on their EPs alone, I would bet the money I’d set aside specifically for that future LP that it would be COMPLETELY AMAZING (and then I would have enough money to buy their LP twice! SCORE. I WOULD SO DO IT).

What I’ve wanted to write about the most since discovering and falling in love with their music is the way it’s helped me. Yes, it’s punk rock, and it’s not even necessarily that I could relate to all of the subjects that their songs are based on, but at the time that I discovered them I was thoroughly unable to put into words how strong of an effect their music had on me. Now, thanks to hindsight, I feel I can finally justify why I fucking love this band so much.

Transitional periods – lots of laying in the middle of the floor, weeping, feeling like I don’t know what the fuck I’m doing or who I am or why I am and what the FUCK does the world want from me. Cue my discovery of More AM Than FM. Fucking timely.

That’s it, really – long story short. I discovered them a month before I would graduate from college with my BA in creative writing, and while I remember the way my therapist explained transitional periods to me and that it would feel a lot like grieving, her explanation seemed to go in one ear and out while I was worried about wrapping up school and what I would do afterward (because I had literally no idea). So, in spite of the fact that she told me that in good time, I still felt like I was drowning in a puddle of completely unidentifiable feelings. And then I heard More AM Than FM for the first time, and suddenly my feelings had a SOUND. I still couldn’t explain what or even how I was feeling; I just knew those feelings now had musical accompaniment and it was credited to THIS BAND and THIS BAND ALONE.

By the time I’d finished listening to their first EP all the way through I felt like WHY DID IT TAKE ME SO LONG TO DISCOVER THIS? THIS HAS BEEN HERE THE WHOLE TIME AND I DIDN’T KNOW? WHY?! HOW. On the positive side of things, that’s the beauty of discovering new music. On the bittersweet side, once you discover new music that you LIKE that undeniably speaks to you like nothing else has, you feel like you’ve been missing out this whole time.

That’s what More AM Than FM’s music did for me. This superb trio of punks restored my faith in life, if you will. Their music reminded me that if I kept on keepin’ on, I would continue to have experiences with music where I would get to hear my feelings unequivocally put to music. And that experience is priceless! It’s why I enjoy researching music and artists and bands that aren’t often found or included in the mainstream – because you just never fucking know when and where you’ll find the sound that speaks to your heart. And finding that, and searching for it, is worth it.

Exciting Music Lately

I just wanted to mention who I’ve been listening to lately while I sit on at least ten ideas for new posts, most of which I have not started yet (but I’ll get to them – eventually, at least).

First and foremost, Sleater-Kinney. Once I realized the day that their new album came out, I eagerly waited until midnight to start streaming it. I heard “Hurry On Home” and “The Future is Here” about a month ago, but besides “Hurry On Home” I wasn’t SUPER excited about the new album…until I heard the “Can I Go On” single that got mixed in to my L7 radio station on Pandora. Since this is a quick post I won’t go too deep into my thoughts on it, but personally I like about half of it, and all of it I respect the band for trying in the first place. I wish I could see the band when they come to Seattle in a couple months but I’m hesitant to buy a ticket because I don’t know that I’d want to see them (for the first time, I should mention – since I became a fan just earlier this year) without Janet Weiss. I LOVE SLEATER-KINNEY, BUT COME ON…fucking great drummers are not easily replaced. Which I will surely say about any band, including my favorite ones.
While I’ve been doing research trying to broaden my knowledge and listening experiences of rock bands consisting of Black women (and I don’t just mean bands fronted by Black women), I discovered Big Joanie. I’ve listened to Sistahs (2018) and I loved all of it but a couple tracks, which is to say, for a debut effort, it’s PRETTY AMAZING.
Thunderpussy goes without saying. For me, it’s almost like, a day without listening to Thunderpussy isn’t a day lived well. And their new single, “Never Know”? Let’s just say ~~I’M DYING WITHOUT THE NEW EP just kidding I’m fine but I’ll be better than fine once I get to hear the rest of it~~ the band hasn’t disappointed me musically yet. I’m grateful for their existence (and existences) every freakin’ day I wake up on this planet. You could say I appreciate them a lot.
Another band I discovered whilst researching, from this SUPER great article I read on them (which I read before I’d heard them), T-Rextasy. They’re coming to Seattle soon and I’m DYING to see them but I don’t know if I have the time or resources to go…which I’m super disappointed about. I love Prehysteria (2019) and most of Jurassic Punk (2016).
After knowing about this band for awhile now via my favorite punk artist Alice Bag, I FINALLY started listening to Fatty Cakes and the Puff Pastries today and OH MY GOD. The bite, humor, and shamelessness woven into the great music is such a fun and positive experience, I’m totally going to listen to them when I’m feeling shitty. I especially love that their songs take on subjects that are not often covered in punk and rock (like “Fat Girl Tears” and “Best Friends”). Their self-titled is a great debut album (and was produced by Alice Bag! Even better!).
Finally, L7, since I mentioned that I’ve been listening to the L7 radio station on Pandora. I discovered through the station that I like a few other artists/bands that I hadn’t listened to much before, too, which is cool (like PJ Harvey and 7 Year Bitch). I’ve also probably been listening to L7 every day, like Thunderpussy, because I just don’t get tired of them.

No Means No (Thunderpussy Edition)

I’ve been perusing the interwebs for the past few hours searching for more interviews by my favorite new band, Thunderpussy, and while this could be a post about how amazing the internet is because of all the ~~pearls~~ gems you can find, mostly I just want to scream about how much I love Thunderpussy. But not trivially!

You see, as I was reading interviews with the band members and finding a new (to me) song of theirs and cheering and smiling to myself because I appreciate them so much, I learned a new piece of information about one of their songs that I apparently never picked up on before.

Now, let me clarify/remind those of you who don’t know me: I have seen Thunderpussy live three times now. I am currently working on a lyric analysis for one of their songs (one which they have NOT played live yet, as far as I’ve found in my research *sob*). I listen to them all the time and I’ve had the utter pleasure and privilege of getting to see them live multiple times. In other words, it’s kind of hard to surprise me with new information about their music, and yet I found some that I definitely, 100% reasonably want to share, because I absolutely do not want anyone else to sleep on it (like I screamed, scandalized, when I realized that I had been).

Funnily enough, this song was already one I obsessively loved the couple months before I got to see them live for the first time, so the fact that I found out something new about it is kind of mind-blowing to me.

According to Leah Julius, Thunderpussy’s bassist, “Gentle Frame” is “Just another in-your-face, pop/rock feminist anthem coming out at a really important moment. It’s kind of this song about unwanted advances and feeling empowered to say no, and I think the timing sits well with what’s going on culturally.” (In the article I linked to via Early Bird Music, Julius elaborated on what she meant by ‘culturally,’ like explaining the inspiration behind one of the band’s slogans on social media, #yearofthepussy.)

When I listened to this song for the months prior to the New Year’s Eve show I went to, for some reason I never once picked up on that theme – mostly because, unfortunately, I couldn’t make heads or tails of what the song was about. I loved it, and it’s got an incredible, thriving groove (and to be quite honest, every moment I listen to Thunderpussy I feel empowered), but as for what sort of situation it detailed…I guess I was rather ignorant. But no longer! Or at least, that’s what I do all this research for.

And now I listen to it with an even greater appreciation, knowing that they tackled this kind of politically/culturally/humanly relevant topic…and in such a badass tune, of course. “Empowered” – no shit!