INTRODUCING - Coasting

*originally posted on thegirlsare

New York bands are cool. C’mon, there’s no denying this. From the nonchalant swagger of The Strokes to their punk predecessors, The Ramones, the Big Apple is responsible for a plethora of hipsters who all know their way around a great melody. Coasting are no exception to this, despite their small geographical placement a few miles or so west in the NY borough of Brooklyn. But as the Sex and The City starlet, Carrie Bradshaw proudly states ‘Brooklyn is the New Manhattan’, yah?

Geography aside, Coasting are comprised of Fiona Campbell (drums) and Madison Farmer (guitar). The band’s sound is an eclectic and invigorating mix of everything from surf rock to riot grrrl greatness to a lo-fi ambiance not too dissimilar to NME darlings, Warpaint. An obvious comparison in style for Campbell’s primal drums is Sleater Kinney‘s Janet Weiss and this is not a likeness doled out on a mere whim. Hell no, Campbell can drum. The intense and frenzied tom rolls of ‘Same Old Same Old‘ are reminiscent of Weiss’ spine tingling tom work on Sleater Kinney single, ’Entertain’. Campbell’s ‘other’ band, Vivian Girls, would make for another lazy reference but there’s a spray of surf in Coasting’s sound and even a sense of twee pop in their bitter-sweet girl group vocals.

The all girl duo met while working for DIY godfather Todd P building stages, taking door money and tending makeshift bars late into the evening. There’s certainly an undercurrent of his DIY approach to their recordings and song writing structures too. The group’s method of composition is centred on hanging out, jamming and intuitively running with what sounds right. With tracks titles, like ’Snoozefest’ and ’Hots for Teachers’, this pair ultimately excel in youthful exuberance and FUN. Their Cramps-esque guitars stylings are soaked in New York grunge cool but also, from over the waters, angsty grunge strums that are not a far cry from Male Bonding‘s similarly raw riffs.

Both the Dalston trio and Coasting share a sound that makes for a welcome retreat to yonder days of abrasive drones and slacker pop hits and that’s certainly a sound worth riding the wave of…

 

REVIEW : The Corin Tucker Band, 1000 Years. [Kill Rock Stars]

*Originally posted on thegirlsare.com

Riot grrrls everywhere wept like Alice when their Wonderland unravelled in 2006, as Sleater Kinney announced their indefinite hiatus. Queens of femme politics and one of the essential rock groups of the 90s, their barbed tongues and banshee wails [not to mention, numerous famed albums] were bottled up and marked ‘Play Me’ for future generations. Many trawled through Google searches and blogs to locate the respective women’s other projects; Janet Weiss released albums with Quasi and Stephen Malkmus’ Jicks, while guitarist Carrie Brownstein now hosts her own music blog for NPR; the States principal public radio service.

So, what became of Corin Tucker? The vehement vixen of the group has remained oddly quiet since the bands announcement some four years ago. However, after time home-making with her family in Portland, Oregon, SK fans will be pleased to find Tucker putting down the family scrapbooks and embarking on making her own memories with this new record. Those expecting to be thrust back into the bewildering and huge sounds of The Woods will have to look elsewhere however [perhaps, Janet and Carrie's new super-group, Wild Flag] as this album is a slow burner and more about sentiment and a wholesome honesty than high kicks and rock riffs.

Dragon [a track originally aimed for The Twilight Saga's, New Moon], is sombre and anguished, the delicate finger-picked guitar melodies sprinkled throughout Tucker’s haunting vocal and, like a New Moon itself, almost celestial. Riley and Half a World Away, hint back at the era of One Beat, the latter in particular, with its kinetic and sporadic percussion as Tucker runs drills with her spiralling vocals and militant guitar thrashes. But, it is in the track Doubt where her famous caterwaul is finally unleashed; and my, how we’ve missed it.

Such a juxtaposition between the timid and soft whisper to the distinctive [and sorely missed] wail is really what makes this album so compelling. It’s almost like Tucker wants us to realise that she is more than just a one trick Portland pony with a killer chorus. She has made a home for herself but she has made some changes too.

“That’s the artistic, itchy personality”, Tucker says. “You’re constantly trying to do something different”.

Different she did: this album is a heady mix of sentiment and fragility alongside vigour and passion but all housed in the same formidable femme. The Corin Tucker Band may not be the trip back to The Woods we were expecting but this journey is well worth embarking on too.

Now, that’s certainly one for the scrapbook.

*http://thegirlsare.wordpress.com/2010/11/09/review-the-corin-tucker-band/#more-4725

Horse Feathers, Oh No Ono, Wild Palms, Someone Still Loves You Boris Yeltsin @ Fleche D'Or, 08.10.10

Making my return trip to Fleche D'Or tonight, complete with another cheeky guest list spot courtesy of The Parisian, Bird on The Wire [a London based promotions act, 'bringing the best in new music' to many a European city] have cooked up a collection of assorted representatives for tonight's show and so we are treated to Paris' very own International Song Contest.

Arriving just in time to hear the last tame whisper of Horse Feathers, their music hits me with about as much force as that of a feather. A shame as, hailing from the same state as the late, great Sleater Kinney and Gossip, I was foolish enough to believe all things from Portland Oregon were born and bred on rock and roll. Sadly, Sam Cooper [the front man of the quartet] got a banjo and Mandolin from Santa for Christmas rather than an electric guitar. Not even the [frankly remarkable] discovery that they are actually on the same legendary Kill Rock Stars label as SK, can distract from the fact that they are folk. Feathery, flimsy, feeling-less folk*
*NB. See Damien Rice and/or Mumford and Sons for references.

There was certainly an element of surprise, having never heard Oh No Ono before, when the lead singers first helium harmony broke from his voice box. As if fronted by a Danish Billy Corgan, the bands impressive array of [admittedly rather high] harmonies soars over a sparkling plateau of tinkling keys, whirling rhythms and psychedelic, cyber groove. Hailing from Denmark, a country renowned for bringing us Saturday night pop tart Whigfield, fantastic-plastic Aqua and not to mention, good bacon, this Copenhagen quintet are prime synth pop rump. There are elements of MGMT'S follow up, and controversially more eccentric, album Oracular Spectacular; particularly myspace title track, Helplessly Young. Their songs, and performance, are both tender and perfectly cooked up; a Danish prize export.

Now for a taste of England, Wild Palms dispel my homesick blues with familiar, and hearty, London accents [as well as their 80s chunky knits.] Newly signed to One Little Indian, Wild Palms surge with looming and distorted bass drones and jump start guitars like that of their punk predecessors, Gang of Four. Their somewhat roguish charm is thanks to awkward and angular front man, Lou Hill whose spoken melodies and equally irksome chants are tinged with Talking Heads hooks and Beefhearts burly command. Previous single, 'Deep Dive' stands out tonight with it's reverb drenched guitar chords and tribal beats. Whilst Hills' homely howls swirl around the venue, the haunting memory of new single 'Draw In Light' is enough to make me come over all patriotic. Taking the post punk formula and making a few welcome and innovative additions, Wild Palms prove that British really is Best.

 

Tonight's final act, Someone Still Loves You Boris Yeltsin [who frankly deserve an abbreviation for such an annoyingly long name] complete the all inclusive feel to the night, currently on a European tour from the States. Rather dismally, however, they don't score very highly, reminding me of a poor man's Fountains of Wayne [and that's saying something, not being the most formidable band in themselves] squeaky clean, perfect pop hooks, they don't even last the three song rule as I have a metro to catch and I never really liked Russian history anyway. SSLYBY as an abbreviation doesn't really work and neither does the Americano, indie bravado of this band. If you're looking for that, head for the classics, as Jimmy Eat World play this same venue just next month. Someone Still Loves You Boris Yeltsin; do they? Nil Point.

www.myspace.com/wearewildpalms

www.myspace.com/ohnoono
www.theparisien.org