Tag Archives: music

Our Songs Are Our Trauma Prizes: An Interview with eCOCOBOYS

eCOCOBOYS feminist band

Photo by by Michelle LoBianco (@brooklynelitist)

I had the pleasure of seeing eCOCOBOYS perform at Alphaville this August. They were energetic and raw, with a lo-fi, Riot Grrrl-esque vibe, and told powerful stories throughout their set—all while wearing coordinating cowboy hats. The band and I caught up over email, and they answered a few questions about what drives them, and what’s coming next!

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Matt L Roar: Tell us how the band formed, who plays what, and how long it’s been around.

Maia: Tara plays bass and is our lead singer, I play guitar and sing some harmonies mostly, Griffin also plays guitar and is starting to sing now (!), and Tasha plays the drums. We all started playing together in September 2018.

Tara: I met Maia and Griffin my freshman year of college and I talked to them about always wanting to start a band, so two years later we finally started the band. We would just sit in Maia’s apartment writing our song to our talented drummer, the metronome app. Then finally we were like, we have to get a drummer, so our friend Gabi posted on a musicians Facebook page and Tasha responded. We played together once and it just all came together.  Continue reading

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My Guns N’ Roses Death Wish

My Guns N' Roses Death WishOn the frosty January day in 1992 when Guns N’ Roses came to Dayton, Ohio on their Use Your Illusion tour, I couldn’t sit still in math class. My teacher was a twenty-something brunette who let us to listen to music as we worked on our problem sets, and we would flip between the commercial pop station, Z.93, or the independent alternative station, 97X, discussing the merits of commercial rock versus the grunge bands coming out of Seattle that we were all starting to love. Guns N’ Roses was playing at the almost brand-new arena, The Nutter Center, with Soundgarden opening, and I had convinced my parents that I had to go, and that my older brother—home on winter break from his first year in college—could take me and some of my friends. I don’t think my parents knew that GN’R had caused a riot at their show just six months earlier at Riverport Arena in St. Louis, or about their wild reputation, but I was ready to see some blood.

In math class, we were talking about the possibility of a similar scene at the concert, imagining all of us caught up in ripping the new arena—named after the grandfather of one of our rich classmates—seat by seat; visions of chaotic violence and being trampled to the tune of a band that I loved. It sounded heavenly. “If I die tonight, at the concert, it would be worth it,” I announced, and my math teacher scoffed at me, telling me that it was a ridiculous thing to say. But I didn’t care—and I recognize the night now as one of my first moments of courting and desiring danger. Nothing anyone said could take away my emerging feelings of self-loathing; my baby death wish.

I was a thirteen-year-old brown girl: braces, already a 36C bra size, black Chucks covered in doodles, and I was deeply and blindly influenced almost entirely by white male artists. I read Jack Kerouac, and had Aldous Huxley quotes that I didn’t understand stenciled on the brown paper wrappings of my books. I had gone to see Terminator 2 seven times in the theater that past summer. At that time, there was no one who looked like me in popular media, definitely not on MTV. At the core of me, there is still the terrible sensation of feeling so completely invisible in the world; the isolation and loneliness of not seeing yourself reflected back anywhere, at a time when you are starving for any kind of attention or guidance. I was so often stewing in the rage that comes from feeling invisible. And then, I’d be home alone watching MTV, and there was Guns N’ Roses reflecting all that anger back at me. What else could I do but cheer on their callousness? Only now, from a distance of 30 years, can I identify the self-hate that was so deeply tied up in my desire for all things white, male, powerful and rebellious. Continue reading

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Music & Radical Potential: Louisa Solomon of the Shondes

The Shondes

“I make music because the state of the world can feel so dismal,” says Louisa Solomon, singer, songwriter and bass player for the Brooklyn-based, feminist rock band The Shondes. For the past decade her band has been fusing politics into emotional, soaring rock songs. With their recently released fifth album Brighton (Exotic Fever Records), they have created their most successful melding of heart, soul, politics and rock riffs that also lays Solomon’s inner life out for listeners. “The act of creating is a coping mechanism, a survival tool, and I think some of what is most inspiring in political art is not the lyrics, or explicit content, or even the ‘topic,’ but the exposure of process,” she further explains. “We try to in some way be very up front in our music about how it affects us to create it, and how we hope it similarly affects listeners toward survival, toward hard work, toward hope, toward sustainable change.”

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Internalized Misogyny Playlist: 11 Songs by Women Hating on Women

Because misogyny is everywhere in our culture, internalized misogyny is also, unfortunately, everywhere. You know how it goes—maybe you find yourself hating on your body, or judging other women’s sexuality, or doubting your own awesomeness at work. Goddess forbid, you may have even uttered the phrase “I don’t like other girls.” Even the most hardcore of feminists are influenced by the white supremacist patriarchy’s messages about girls and women. And so are the most successful of female pop stars. Why are there *so* many songs about how stupid / deceptive / sneaky / crazy / unimpressive girls are… that are sung by women? Are these songs self-implicating appraisals of our culture’s sexist standards? Or just plain-old sexist themselves? Or simply honest expressions of women’s emotions… which are therefore inherently kinda sorta feminist? In the spirit of unpacking our internalized sexism knapsacks or Louis Vuitton bags, I rounded up eleven well-known female-fronted songs that hate on women—here they are, in no particular order:

1) “Stupid Girl” – Garbage

Not to be confused with “Stupid Girl” by The Rolling Stones, or “Stupid Girl” by Neil Young (hey, fuck you guys!), this song is one of several from the Songs by Women Called “Stupid Girl” canon. It features 90s chick singer icon Shirley Manson berating a “stupid girl” (herself? Someone else entirely?) for basically being a hot mess and a fake who wasted everything she had like the beautiful fool that she is. Is this song a self-aware look at one woman’s internal monologue amidst society’s messages about how “stupid” girls are? Or merely a condemnation of girls for being stupid wherein the speaker attempts to distance herself from a dumb, misguided girl who fucked up her whole life? Also, omg you guys, who hasn’t pretended they’re high and/or bored, just to be adored?!

 

2) “Stupid Girls” – Pink

This song presents the classic sexist binary of “stupid” girls who carry around tiny dogs and wear tinier t-shirts and go tanning (oh so 00s) and “not-stupid” girls who wear suits and run for president. It’s kind of weirdly an anthem of second wave feminist ethos. This song contains the cutting and very apropos to our current historical moment lines: “What happened to the dream of a girl president?/ She’s dancin’ in the video next to 50 Cent,” and “I’m so glad that I’ll never fit in/ That will never be me/ Outcasts and girls with ambition/ That’s what I wanna see.” This song is confusing, ‘cause Pink herself wears tight clothes and dances and parties—but for some reason (ahem. Internalized misogyny) chooses to reinforce a tired, sexist binary that girls who do these things can’t also be smart and ambitious.

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Best of 2015: Top 10 Albums Featuring Strong Female &/or Genderqueer Vocals

There are and will be many Best Music of 2015 lists floating around on the ‘nets, but none featuring strong female and/or genderqueer vocals—until now! In arbitrary/alphabetical order:

1. Anna Van Hausswolff – The Miraculous

miraculous

This album felt more doom-metal than her last, which I was surprised by/totally okay with.


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The Universe Doesn’t Know You Exist : An Interview with Meghan O’Neil Pennie of Super Unison, ex-Punch

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Super Unison, photo by Matthew Kadi

There’s this tree growing behind my apartment that took me five years to really notice. It’s huge. Twenty feet taller than our three-story building, with dense leaves, a squirrel’s nest, and a rotating cast of birds. I don’t understand why I took it for granted for so long. Maybe I needed to live in New York City for a few years before I realized how special it was to have an epic, dynamic, vital being growing in your backyard. Anyway, Meghan O’Neil Pennie, the lead singer and bassist of Super Unison, and former lead singer of PUNCH, is like that for me too. Meghan was the big sister of the drummer in my high school punk band. She was always lurking when we practiced in his parent’s living room. In college she was my best friend’s roommate, so we would often cook dinner together and hang. She felt like a family member who had always been around and always would be. So when she started singing for PUNCH, I hardly noticed. I feel stupid about that now. Her vocals on  the five(!) PUNCH records released by 625, Deathwish, Discos Huelgas, are so fucking ferocious and unrelenting it hurts my throat and heart to listen. Meghan also has this incredibly powerful stage presence. I’m watching old  YOUTUBE videos and found one of her performing at a festival in the Czech Republic and she’s leaping about stage with one broken foot while people stagedive around her. Meghan derived the title of PUNCH’s last record, “They Don’t Have to Believe” from the Kathleen Hanna documentary, The Punk Singer, in which Hanna says “she doesn’t expect everyone to understand or believe in feminism or her personal battle with illness, but they should have to stay out of her way.” Meghan’s work in her new band, Super Unison, continues in this lineage. Her vocals are upfront and unapologetic, slightly more melodic than before, a little less thrash and a little more riot grrrl. Here, Meghan and I talk about her new band, her lyrics, and how she became the musician she is today. Continue reading

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Reviewing Holly Herndon’s Platform

holly herndon

The following is a music review (similar to what I did before and before) where I write what comes to me as I listen to Holly Herndon’s new album, Platform:

1. “Interference”
Traverse time apart from/next to myself
Dedicated machinery, joints dance, hum of fast-paced rise and fall
Linking slow and sudden
Stutter clearly, throughout. The  fundamental frequency of great shifts.
Shift to quiet. Shift in circles. Pulse out. Outer ripples provide the current rhythm reverberating back, activating other nodes. Laser cutting across dark matter, loping looping space falling apart fa fa falling apart. Continue reading

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Indie Artist Spotlight: Rachel Eckroth

rachelekroth

If you’re like me when it comes to music, then it’s likely that you’re constantly scouring the internet for exciting and unheard-of musical gems. I get especially hype when I come across women who play actual live instruments and play them well. Rachel Eckroth is undoubtedly one of these jewel artists who allow me to happily revel in indie girl coolness. Although you may not have heard of Rachel, you may have seen her. She is a member of the all-female house band on The Meredith Vieira Show on NBC. She gigs with her band relatively often but can also be found working as a side-woman playing piano or keyboard and singing across a range of genres.

One of my most memorable encounters with Rachel was on a winter evening in 2013. I packed into a tiny room to hear Rachel’s six-piece band perform as part of the Capricorn Music Festival in New York City. The room of about thirty or so musicians and fans received a steady flow of music that sampled a panoply of jazz-infused colors. As the group performed, the room pulsated with nodding heads entranced by the groove. That night, they performed Eckroth’s original tune, “More Beautiful Than That.” When they hit the bridge, I looked around the room—not a single body was still. Her music has a distinct charge. It’s a sonic road-trip, one that will take you places if you decide to let it. As she glided through changes on her keyboard, I remember thinking Damn, she can play.

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Rah! Rah! Roundup

rahrahroundupMusic “When I didn’t appear in public, I wasn’t a recluse. I was just living my life.” Marine Girls’ and Everything But The Girl’s Tracey Thorn tells The Guardian.

Pixable via Gif allows us to see how many men and how few women will be playing at a music festival near you this Summer. Disappointing to say the least. 

Yoko Ono’s “Woman Power” is #18 on Billboard’s dance charts! Listen to it now.

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Songs My Toddler Likes, Ranked According to Feminism

My daughter just turned 20 months old, and she’s really starting to take control of her musical destiny: while we picked out the music she listened to when she was a baby, now she has her own preferences and can demand we sing or play the same songs over and over again. And she’s verbal enough now that she can actually sing along! As feminist parents, of course, we recognize that most traditional children’s music is a tool of the patriarchy, intended to mold pliant young minds into lovers of the status quo. But as helpless thralls of our adorable child, we make no effort to discourage her from singing the songs she loves. Still, why not rank the songs our daughter loves best from Least to Most Feminist? Here’s a somewhat arbitrarily-chosen list that includes most of her favorites.
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