Poly Styrene, Generation Indigo

Future Noise Music
March 2011

Once described by Billboard as the “archetype for the modern-day feminist”, Poly Styrene was the unforgettable front woman of punk pioneers Xray Spex and is renowned for her discordant vocals and ball busting witticisms. Thirty years on from the band’s shambling, musical rebellion and this iconic female figure of Brit punk is back. With the help of uber producer Martin Glover (AKA Youth from Killing Joke), Generation Indigo is Styrene’s latest solo effort and is a kaleidoscopic view into music genres as the singer strives to move away from old punk tricks.

Worry not loyal fans, there is still some of X Ray Spex‘s signature sounds here. ‘No Rockefeller’ is a sauntering summer number contemplating issues of race while a Spex style sax plays out over Styrene’s smooth vocals. Similarly, ‘Code Pink Dub’s’ offbeat guitar strums and driving bass lines are reminiscent of her fellow 70s sirens, The Slits with Styrene’s reggae rap and pulsing beats.

By contrast, new single, ‘Virtual Boyfriend’, is a step into the modern age for Styrene commenting on the dating troubles of a 2000 teen – “we haven’t seen each other at all, text or a missed call, myspace friend that’s all…” The track, (co-incidentally picked as Video of the Week on 6 music’s Nemone’s show in light of its release last week) is laden with sparkling synths and and 80′s cyber vocals, not too dissimilar to electro duo, Robots In Disguise.

A hearty release to consume, Generation Indigo clearly serves up an exotic range of styles and at some points, you can’t help but wish the ambitious front woman had stuck with just one. The moments of genius lie in Styrene’s ability to hark back effortlessly to those ska sprinkled sounds of the 70′s rather than the album’s chirpy pop hits about her love of rubber soles and coloured canvases that all seems a little contrived.

Poly Styrene once sang the infamous line ‘”People think little girls should be seen and not heard” – thanks to this release, a whole new generation (Indigo or not) can still hear her strong female voice.

*originally posted on thegirlsare

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…

 

Paper Dollhouse, A Box Painted Black

*originally posted on thegirlsare

Many lead singers take the plunge into solo careers and all with varying degrees of results. After the release of Stevie Nick‘s solo album, following her extensive career in Fleetwood Mac, Rolling Stone deemed her “The reigning Queen of Rock and Roll”. Courtney Love could’ve only wished for the same reaction to her solo offering, America’s Sweetheart which instead, only saw her ‘reform’ Hole as a guise for her, ultimately, solo endeavours.

Paper Dollhouse is the work of Astrud Steehouder, vocalist and guitarist in London three piece The Rayographs. A Box Painted Black is her debut album and sees Steehouder following the footsteps of Nicks and co and stepping out on her own. Inspired by surreal and Gothic moving pictures like Czech classic, Valerie and her Week of Wonders and band name donor, Paperhouse, Steehouder has created a transgressive collection of folk tinged songs dense with intensity and draped in a brooding backdrop.

Track ‘Loved You More Than Ever’ is a dark and bewildering art performance piece which yearns for a cascade of flickering images to be shown during its swirling vocal progressions and Steehouder’s meandering monologue. It seems only apt then to hear that Paper Dollhouse has recently been working with photographer and writer Nina Bosnic in a live capacity using a variety of sonic and visual techniques including an old slide projector, a Dictaphone and prismatic imagery, to create a show as haunting as it is bare.

Similarly, track ‘Black Oak Tree’ deserves to play out on the edit credits of a classic western movie, with its sombre and Cash-esque Blues riffs and lyrics such as “words carved into the dirt track, so long”. Like the raw and initial demos of Dry that Polly Harvey spun out way back in 1992, A Box Painted Black is a collection of songs bound in emotive tonality as well as a fresh nativity.

As Steehouder says herself, it is “music for scenes in films that haven’t yet happened – but when they do, she is sure to be at the forefront of this cinematic new wave approach.

INTRODUCING: KITO

With acts like James Blake, Chase and Status and even Miss Spears playing homage to electronica beats in her recent release, dubstep is rife in charts. In a genre that has long been dominated by almost entirely male producers, the dub scene is having somewhat of a facelift and one visage at the fore front of this change is Australian dubstep artist/producer, Kito.

Read the introducing piece on dubstep down under, here : http://thegirlsare.com/

Esben and The Witch @ Point Ephémère, 28.02.11

Brighton is a city renowned for spawning an impressive array of starlets, from the father of electronic dance, Fatboy Slim to the recent rock duo, Blood Red Shoes. Who knew, alongside these indie delights, this sunny seaside shore had something as potent as Esben and The Witch brewing. Tonight’s show at Point Ephémère is the band’s final day of their European tour and as the ominous smoke fills the stage like the theatrical welcoming of a villain, Esben and The Witch greet Paris with their eerie drone.

Read the review of their live show, here : http://thegirlsare.wordpress.com/2011/02/28/review-esben-the-witch/#more-7679

*Photo by Cheri Amour

The Joy Formidable @ Fleche d'Or - 25.02.11

The Joy Formidable first released their début single ‘Austere’ in 2008, a year when (alarmingly) Canadian crooners Nickleback climbed to the top of the charts once more. In light of this, The Joy Formidable‘s expansive and ethereal sounds were a beacon of light in a sea of otherwise mundane indie. Three years on and Chad Kroegar and co. have just announced plans for their seventh, yes seventh, release. Yet, there is something to be said for a gradual career building and, with their début album The Big Roar finally released just last month, The Joy Formidable certainly prove that slow and steady really does win the race. I was lucky enough to catch up with the Welsh trio before their sold out show in Paris last week to talk about influences, a possible Febreeze sponsorship and incorporating cannons into their stage show…

Read the full interview here : http://thegirlsare.wordpress.com/2011/02/25/conversational-the-joy-formidable/#more-7512

*Photo by Cheri Amour

Thomas Tantrum,The Birdsong EP

*originally posted on thegirlsare

A surprise shift in direction makes for a welcome return. Thomas Tantrum are back and there's not a hissy fit in sight....

Chances are you will have already heard of Thomas Tantrum. The band, who list Lily Allen as one of their dazzling celeb fans, originally released their first EP in 2008 and made households everywhere sing along to the bands bratty whine of “I wanna talk”, like some kind of teen, well…tantrum. Three years on from their hazy days splashed over the pages of Artrocker and NME, where are they now, you might ask?

New release, Birdsong is the bands latest offering and, as the group bounce back with Cure like guitar jangle, it’s clear a lot has changed for this Southampton four piece in the time they’ve been missing from the spotlight. Gone are the tired rhymes and almost-cringe worthy-rap spats of former tracks like ‘What, What, What’, with its almost Kate Nash accented narrative. Instead, the bands front woman, Megan Thomas’ graceful vocals saunter through the whirling soundscapes with the same shining brilliance as Juanita Stein. Title track, ‘Face the Music’, shows that the band have done just that and seemed to have grown up, not only lyrically but musically too. Now, rather than sounding like some frat party hissy fit, they have the rhythmic swagger and reverb delicacies of bands like The Howling Bells and NME darlings, Warpaint.

The EP’s closer is an epic and empowering piano led ballad and something one could never have guessed would be the product of these former Talk Talk mobile starlets. As the ethereal guitar lines kick in, the track soars into a colossal chorus of ”you’ve been caught” and Thomas Tantrum truly have, in all their new (and improved) glory. Original demands of ”a drum roll when they step outside” may have appeared obnoxious before but, following this EP, only seems just.

Thomas Tantrum‘s new album is set for release this year.

Betty and The Werewolves @ L’International, 29.01.11

*originally posted on thegirlsare

When pondering werewolves, I’d like to think we all hark back to the sketchy (but admittedly, brilliant) hirsute figure of Michael J. Fox in ‘Teen Wolf’. Just like the final scene in the 80′s cult classic where Michael triumphs in the basketball match sans transformation, it is with the same feeling of elation and enthusiasm that one should watch this band. Hailing from London, Betty and The Werewolves are a sparkly and sprightly mix of pop-panache and even boast an inspired track about the wonders of plastic. Despite their lack of eco friendly ethics, one can’t help but love this quirky bunch.

Gay-fully performing to a packed out crowd at L’International tonight, just off Paris’ bustling and vibrant Rue Obkerkampf, the band skip into former single, ‘Euston Station’, which, lead singer Laura proclaims in perfect French, is their “preferred stop on the London Underground”. Betty and The Werewolves have the upbeat tenacity of Letters to Cleo and the sweet vocals of the (frankly, underrated) Lush, particularly on moody track ‘The Party’, with drum-stomp and haunting backing harmonies. Latest single, ‘Paper Thin’ is met with whoops from the Parisians (a rarity, I tell thee), as the band saunter into warm, reverb-drenched tones, reminiscent of hazy days by the seaside as a child eating 99′s on the pier.

Ultimately, Betty and The Werewolves are like a timeless edition of Bunty: with soft spots for both David Cassidy and brightly coloured plastics, and a lyrical honesty that is both endearing and refreshing: “You ask me about The Libertines, who the fuck are they? I only know what happened in the sixties”.

 

Photograph courtesy of Michela Cuccagna @ Sound of Violence.

MELISSA AUF DER MAUR!!

Admittedly, the festive period has led to a rather lax approach in writings [from the Right Bank or anywhere for that matter!]. However, heading home to Old Blighty for Noel rather than staying au rive droite, it seemed only fair to wait to pen my insightful tit bits once back here in gay Paris...that and frankly, I was far too busy sipping on tea served in china cups and eating copious amounts of Quality Street.

In need of somewhat of a spring clean as well, I am yet to update with some of my latest, and frankly unbelievable, goings on courtesy of thegirlsare!!

The month of December saw the legendary Melissa Auf der Maur play at Le Trabendo here in Paris celebrating her new record, 'Out Of Our Minds', six years after her debut solo effort. I was lucky enough to meet up with the flame haired reine of bass just before the show to discuss being your own manager, disliking bass players and mosaics of Japanese food.

Read the full interview with the Canadian queen, herself here:

http://thegirlsare.wordpress.com/2011/01/11/conversational-melissa-auf-der-maur/#more-6109

[and as if Melissa could have been any more of a humbling and sweet soul, we even got a tweet for the interview from her!!]

THANKS TO A LOVELY FELLOW RED @THEGIRLSARE FOR GOOD CONVERSATION.. http://bit.ly/gm1iTi 10:32 PM Jan 22nd via TweetDeck

Download the single, ‘Out Of Our Minds’ now.

http://twitter.com/xmadmx

http://xmadmx.com/

Plastiscines @ La Cigale, 27.11.10

*originally posted on thegirlsare

 

Tonight’s show at La Cigale is the final date in the Plastiscines recent ‘Bitch’ Tour, and judging by the throng of devoted fans as well as many of the bands family and friends (later gushed about in the group’s on stage thank-yous), there’s more to these girls than just their formidable faces and figures. These French sisters are doing it for themselves; and in hot-pants, to boot.

Dubbed as the ‘bébé rockers’, being one of several current Parisian teenage bands, from the moment Plastiscines strut out on stage, one can only gaze in awe at their energetic exuberance: legs flailing, hair tossing and heads banging, the band crash into their set with Sex Pistols venom yet maintain their perfectly executed appearance of ‘rock chic’, as if presented in the latest cult fashion shoot. It’s not surprising then that Editor-in-chief of pop culture mag NYLON, in fact founded NYLON Records and signed the Plastiscines as its first act, after seeing them on the cover of French fashion and style magazine Citizen K.

Lit up on La Cigale’s glamorous and majestic stage like some hot guitar wielding Charlie’s Angels, their slender silhouettes are framed by the impressive light show of flashing strobes. Track Loser is met with an impressive and zealous crowd call and response while Myspace favourites,’Pas Avec Toi and Barcelona (both tracks taken from the group’s new album) demonstrate the bands ability to thrash out tight hooks and nifty fretwork, akin to the super cool nonchalance of The Long Blondes or the hearty backing harmonies of their punk rock predecessors, The Donnas .

One criticism to the set list ce soir would be the not-so-inventive, or indeed necessary, covers of both You’re No Good (first a hit for Linda Ronstadt and not to be mistaken for either the Van Halen or Aswad interpretation] as well as the 60′s classic, Be My Baby. Neither of these rather tired and uninspiring revivals compare to the bands own material which oozes class and confidence.

The girls saunter off after their double (yes, double) encore to a raucous, and more than deserved, final applause. With a glittering array of talent and charm as well as a powerful on-stage prowess, Plasticines truly represent a new rock elite.  Mon dieu, save these queens.

www.myspace.com/plastiscine

Ms Jones @ Café de Paris, 28.11.10

*originally posted on thegirlsare

 

 
Just down the road from the famed Nouveau Casino, Café de Paris is nestled amongst the heart of this capital’s café culture. Head towards the dimly lit back room and a haughty old theatre stage, with some strategically placed ambient lighting and the benefits of an original stained glass ceiling, is transformed into the perfect setting to immerse oneself in a sea of sombre sound waves.

You won’t find much on Ms Jones if you look her up online. Her Myspace is sparse with only mere song samples to go on and no Wikipedia account in her honour either (a resource so easily used as an, albeit not entirely accurate, preface to a band nowadays) Yet, perhaps, this is Ms Jones‘ intention and simply the only elements she needs rather than some crudely constructed online biography like so many of her peers.

Her approach is raw and sometimes a little unconventional (with some eccentric tuning towards the end of the set) yet there is something endearing about the way she exposes herself so wholly and vividly to tonight’s audience. Like Kristin Hersch‘s  haunting opening chords and timid bleats upon the track Sno Cat, the sadness in the room is palpable.

However, for a reviewer that’s more of a wild cat than a sno cat, the performance is ultimately a little bleak; the fragility in her singing is, at times, almost too painful to watch. There are some impressive collaborations though during the set with both friend, Phillip Lamb and fellow performer on the bill tonight, Richard Robert who, as an aside, is a remarkably talented guitar player and linguist – entertaining us with songs in three different languages, no less!

Perhaps, someone should pen that Wikipedia page for Ms Jones after all, if for nothing more than to build upon the bones of this stripped bare songstress. A fan of Hirsh’s delicate discordance and Patti Smith‘s more tender testaments? This petite françaises quivering anguish is certainly for you.

Listen for yourself, here :
www.myspace.com/heloisesque

Rendez Vous 002 - John and Jehn and Friends, Soirée @ Fleche d'Or, 09.11.10

 *originally posted on thegirlsare

 

With their new recording, Down Our Streets out this month, John and Jehn are back on familiar soil after making quite a name for themselves in Old Blighty over the last four years. Finding the time to chat before their soirée tonight at Fleche d’Or in Paris, we muse over their new [and clearly popular!] line of home-made merchandise, Jehn’s lesser known movie fame and pitch all things Brit against its French counter parts. So, have they ditched their café crème’s for cream teas and their oysters for eels, or are they still flying the flag for their Republic?

Read the full interview with the dazzling duo, here :

http://thegirlsare.wordpress.com/category/features/conversational/

Christy and Emily @ L'International, 28.10.10

*Originally posted on thegirlsare.com - http://wp.me/pKnSx-1ck *

As the name suggests, Christy and Emily is quite literally the musical amalgamation of both New York rocker, Christy Edwards and Columbia trained pianist, Emily Manzo. More like the John and Jen of Brooklyn rather than the comedy coupling Chas and Dave, Christy and Emily combine their velvety vocals and whirling keys over a plateau of layered guitars and sounds.

Tonight's date at l'International is nestled in amongst the bands current European tour and in honour of their new record, 'No Rest'[produced by Hans Joachim Irmler of 'krautrockers' Faust, no less]. For this evening, despite the initial duo reference within the name, the two are, en fait, joined by an on-stage drummer with sparing fills and sombre floor tom that only adds to the groups live intensity.

The melody to set opener, 'Firefly,' flits through the crowd as Christy builds up layers of balanced and measured tones, only to enter the throng with two drum sticks in hand, weaving in and out of audience members like a mobile metronome. Edwards is certainly loop pedal savvy; an element to the bands sound that really sets them apart, enabling them to create a sound far more extensive than one would expect from this perfect pairing.

Even the on-stage banter of the group illustrates the true power of this bands fragile folk; they divulge that even the burly hardcore rockers they recently shared a stage with in Prague admitted to weeping through their penultimate track, 'Guava Tree'. As the delicate first chords swoop in, it's easy to see why.

Like the luminous firefly herself, Christy and Emily emit a light that is both powerful and intense. Tonight, Paris is under its bright glare...and it feels electric.

[www.myspace.com/christyandemily]

London Calling

Never one to stray too far from Old Blighty, I am pleased to announce that I am officially the new Parisian contributor for thegirlsare and will be submitting reviews to the lovely London lot beginning with my tga debut at L'International last week.

thegirlsare is an independent, collaborative project, celebrating and supporting women in music. As a fan of the femme fronted band myself, it's a pleasure to be on board such a fab writing team. Not to mention, writing over the continent and knowing all the folks back home can see it, has to make me that little bit closer to a sorely missed Sunday Lunch..right?

Chin chin à tous!

http://thegirlsare.wordpress.com/

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