Indie: Mirah and K Records

I can distinctly remember listening to (a)spera by Mirah one day two summers ago while driving back home after dropping my mom off at work. I don't remember exactly why I had done this since she works in the city and I work in the suburbs but it happened.

Driving down Elston during late morning with this album playing was oddly peaceful. I'm sure the fact that Elston has no CTA bus also contributed to the mood.

Anyways, that's what Mirah is, not even just this one album. They are very mellow and soothing, not something I would usually choose to put on a summer playlist. But if your car has A/C, I would recommend listening to them to reach maximum amounts of chill.

Mirah belong to K Records, an independent label hailing form Olympia, Washington. The list of artists who have worked with K Records is expanisve, including such acts like Kimya Dawson of Moldy Peaches fame, Talulah Gosh, Tiger Trap, Bikini Kill and more.

The label is opposed to corporate control over music and so strictly supports independent music and underground DIY culture. This documentary was made with the label as its subject.

While I watch that, you should definitely have a listen to Mirah.

Indie: Carissa's Wierd

Carissa's Wierd, a "sadcore" band from Seattle, are so weird in fact that they intentionally spelled the adjective wrong in their title. Very clever.

With the band's relevance and current popularity, it is hard to believe that they formed in 1995. I still listen to a band that began playing when I was 2!

A mix of shoegaze and sad, quiet and slow tunes comprise the band's discography, which spans 6 full length albums, 2 singles and 2 compilations with each Broken Rekids and Keep Recordings.

Jenn Ghetto, one of the band's vocalists, moved on to form the band 'S' and other vocalist Mat Brooke with Ben Bridwell went on to form the popular 'Band of Horses.'

This is a great band to fall asleep to after a long day or when you've had a trying day emotionally. I would know this from experience, of course.

Here is a perfect song that showcases Ghetto's delicate and soft vocals:

Personality Profile: Boys to the Back

Delia Hornik and her history with the Chicago punk and emo scenes began 5+ years. Read on about her experiences within, and attitudes about, those scenes.

In 2009, while a senior in high school, Hornik and friends drove to shows on weekends to be around “like-minded people,” something hard to find in affluent suburbs.

Soon after, she was hooked.

It was a new and baffling sight for Hornik to see kids selling their merchandise. She was unaware that people with this much drive and passion towards local music existed.

However, there are still problems with the scene despite positive and attractive aspects.

“Chicago could definitely benefit from more girl groups and non cis-male groups. [The city] has always felt like sort of a boy’s club and it’s time for ladies to step up and start making killer jams,” said Hornik.

Hornik followed her own advice and learned to play guitar at age 12. She was always attracted to the idea of writing her own music and creating something uniquely hers.

In 2010, Hornik started playing in the band Dowsing. She had never played the piano/keyboard before but quickly caught on and added that skill to her repertoire.

Through being part of a band, she was able to channel creativity in a really positive way. After leaving the group, Hornik and her partner, another member of Dowsing, went on to start a new project called What Gives.

Formed with members and friends in other local bands, including Mountains for Clouds, Annabel and Kittyhawk, the new group makes “super fuzzy rock with some sick riffs.”

While Hornik and other female and trans* musicians are staking their claim in the scene, she had this to say on the current state of Chicago’s music scene.

“I have noticed in the past few years there have been an increasing number of girls at shows and girls in bands, but it’s still not equal.”

Lemuria front woman Sheena Ozzella, when interviewed by PunkNews, said, “I think women should be viewed upon as musicians more than gender should have anything to do with it. I still sleep on the floor. I still poop.” 

Wall of Sound

My own previous knowledge of music has been confined to Chicago, so I’d like to recognize other states with up-and-coming bands featuring one of the female musicians helping to reform music scenes across the world into something other than exclusively male. 

One of those states is North Carolina, so if you ever visit, be sure to attend an Earth Mover show. 

The band, as described by a fan at one of their shows, is a “sludgier version of Jesus and Mary Chain.” So far this has been the members’ favorite description. Influences on their Facebook page include shoegaze bands My Bloody Valentine, Spacemen 3 and of course Jesus and Mary Chain. 

Members include vocalist/guitarist John Russell and bassist Morgan Brown.

I had the pleasure of asking Brown a few questions about her past and current experiences with music, as well as future plans for the band itself. 

Brown has always looked up to bassists Kim Gordon of Sonic Youth, Debbie Googe of My Bloody Valentine and Kira Roessler of Black Flag fame as sources of inspiration.

As a result of learning to play bass and overcoming the struggles facing new musicians, Brown has so far had a positive experience within her local scene. She is no longer as quiet, shy and reserved.

Brown even plans on learning new instruments in the upcoming future, adding to her bass guitar abilities.  She hopes for vocalist and guitarist John Russell’s skills, in addition to his knowledge of drums, to rub off on her.

Earth Mover, Russell and Brown’s labor of love, is currently working on a week-long run of shows in the Northeast region, including the cities of Baltimore, Philadelphia, New Brunswick, New York, Bethlehem, located in Pennsylvania, Washington D.C. and Richmond. 

Not only is the band working on a tour, their future plans also include releasing splits with local bands as well as a do-it-yourself (DIY) compilation through The Root Press that will benefit autism research. 

Brown is more than proud of what her band has accomplished. 

“I went into this project thinking ‘if I can play a few shows and maybe record a few songs to put on tape, I’ll be happy,’ and we’re already doing more than what I ever imagined we’d be able to,” said Brown.

Earth Mover has 2 upcoming shows in North Carolina: May 22 at Area 15 and  June 1 at Static Age Records. Try to catch them before they tour or wait until they hit up your state with some heavy fuzz tunes in the future! 

From left to right: John Russell, Amanda Bartee, Morgan Brown and Keith Bendt Jr., of band Earth Mover play at Black Cat Burrito in Boone, NC on Friday Feb. 7, 2014. Photo credit: Karl Kuehn.

Link to Root Press Compilation: DIY w/ Love

[UPDATE: Made on 5/8/14 at 4:00 p.m.]

Quick FYI

I just want to say that the songs I choose to post are just my favorites or what I believe to be a good introduction to the artists I post.

I highly highly highly encourage you to seek out other songs by these artists because only you can be the true judge of whether or not it appeals to you.

Listen to live songs, listen to recorded songs. I am by no means telling you these bands are good, just influential or inspiring according to me and personal tastes, and sometimes in relation to the larger music genres in general.

Youtube is a great resource for this, as is Wikipedia. If an album sounds interesting after reading about it, try it out. Youtube now has an increasingly large number of full albums and a wide variety of songs and live performances.

Thanks and listen on!
-Ashley

The Fallacy of Indie

I think it's important now, between my posts on indie music, for me to take the time to realize how dominated by white women the indie music genre is.

I have to admit my own and others' naiveté in thinking that these are the only women who produce this type of music when in reality that is not the case one bit.

Sure, these women who all have similar physical appearances (a la Zooey Deschanel's quirky chic) dominate the mainstream indie circuit but there are women of color making significant strides with their own music of this genre.

Recently, I was trying to search for a scholarly paper on the prevalence of women (of all racial backgrounds) in indie music as a whole. Instead I stumbled upon this list of 30 African American women staking their claim in the genre.

Why don't these fabulous young women get as much (if any) radio play as their white counterparts? Kinda fishy, if I do say so myself.

The first artist I chose to listen to was Jennah Bell, whose voice instantly reminded me of a more refined and sweeter version of Macy Gray's. When you search her name on Youtube, you will find a large number of acoustic or live videos which showcase her great talent. Here is a cover she did of Lauryn Hill's song 'Doo Wop (That Thing).'

Take a look through the list and let me know who your favorite is, or tell me any other artists the list missed!

http://www.forharriet.com/2013/02/30-black-women-in-indie-music-you.html

Indie: The xx

You may recognize The xx from Rihanna's song 'Drunk on Love' which samples the group's song 'Intro.'

I know when I heard the Rihanna song, I was excited not by Rihanna but instead by the fact that The xx was in it. This was the exact opposite reaction to my then freshman dorm mates. I was always the odd one out, but that's okay! It let me listen to bands like this.

I can recall countless nights in high school and during summers where I'd stay up late into the night just listening to their first album xx. This was therapeutic for me in a way and a result of the enchanting and dreamy vocals of Romy Madley Croft, their leader singer.

The band from London, England formed in 2005 and still tours frequently. I know this because I missed my chance to see them live not once but twice. As Homer Simpson would say: D'oh.

Up until recently, I was under the impression that Croft was ultra-feminine and had long luscious hair a la Lana Del Rey. I had assumed al this as a result of her voice. I was way off.

The singer in fact has short dark hair and could easily pass as a male, perhaps her goal. She is quoted in a story by Trish Bendix of afterellen.com addressing her often discussed and speculated sexuality:

"It’s not something I really talk about. I mean, I am [gay]. But if I was singing about a guy, I would probably be singing a similar kind of love song, really. I feel like we never explain our songs directly — what they’re about or who they’re about. But I never want to be so secretive that it’s like denying it. It’s the same as everything about us: We don’t want to make a big deal out of everything. We’re not shouty."

Croft brings up a great point: the personal lives of musicians should have no bearing on their music. *Slow claps*

Here is a cover of the song 'Islands' by Shakira and the original. Which do you enjoy more?

Indie Rock: Camera Obscura

My first impression of Camera Obscura as being a group from the 60s or 70s due to the old-timey vocal styling of Tracyanne Campbell and the music accompaniment was, to my dismay, false. Why do they have to be so reminiscent of Nico but with a twee pop twist?

Upon looking the group up on Wikipedia for the first time, I was finally rightly enlightened that they were in fact formed in 1996! Really, truly.

It is kind of embarrassing how long I've went without knowing this fact but I am now even more impressed knowing that the group is able to produce a classic sound while being a modern band.

Even more shocking to me is the fact they are from Scotland, not California, as I thought them to be, based on their mellow surfer sound a la a more polished Best Coast.

This group is perfect to blast through the speakers of your car while driving around in the summer time with the windows down, sunglasses on and hand waving through the wind. Or at least that's how I maximize my enjoyment of these feel good, poppy indie tunes.

A perfect example that can be used for this is their entire album Let's Get Out of This Country.

But here is one of my favorites of theirs, for purposes of blasting in a car with the windows down or listening to quietly in your bedroom:

[UPDATE: Made on 4/8/14 at 3:30 pm]

Indie Rock: Rilo Kiley

One of my favorite quintessential indie groups would be Rilo Kiley, although you won't hear lead singer Jenny Lewis label it as such.

In 2003, Marli Guzzetta of the Houston Press, described the sound on Rilo Kiley's The Execution of All Things as "the diary of an optimistic '50s pop star whose music has been deflowered by electric guitars and synthesizers, crushed and disenchanted by lost love and broken homes."

If that description doesn't make you want to listen or doesn't already enforce your own views on the band, then you must be listening to Rilo Kiley the wrong way. Please see an indie doctor ASAP.

This song was the first I heard because as with most bands, you are first introduced to their most recent work rather than previous albums. I would relentlessly (and embarrassingly) belt it out alone in my room and dance when I felt sad.

Hopefully it makes you do the same and becomes as inspiring of an anthem to you as it is to me. 

[UPDATE: Made on 4/10/14 at 4 pm]

An Intro to Indie

I had been going through my iTunes library recently and discovered how many female indie artists I had music of. For my following posts, I have put together a list of twenty female-fronted indie bands to share. But since I'm sure you would never scroll through a post that long because it'd take ages, I will post weekly on different indie artists until they have all been covered (this should take about 5 weeks if I don't keep adding to the list. I have no restraint, ok.)

Why is it that I was able to find so many indie bands in my library that featured women? Is it because of my bias towards female musicians or is it an easier genre for women to break into and be successful in? Is it expected for women in music to take the more passive indie route than other more aggressive musical paths?

While I may not have the answers to these questions yet, I can introduce my audience to bands/artists that are or will be influential in the indie genre.

I don't even know where to begin or with whom. Indie can sound different depending on the instruments, vocals, and miscellaneous noise. Indie, to me anyways, is just a genre that is imposed on artists who don't necessarily fit into the definition of other genres, as sort of a mixture of sounds.

On Punk Music: The Female Perspective

To me, and to many other females involved in Chicago's punk music scene, our perspective is crucial in identifying problems with the scene and in trying to find solutions to underrepresentation of marginalized voices.

I spoke with two ladies in attendance at Chicago's recent zine fest who both had valuable input on this subject.

I'd like to thank both of them for their time and hopefully I can continue this project in the future and build upon this.

1990s & Shoegaze

While grunge bands were receiving fame in the MTV culture of the 90s, the underground and less well-known shoegaze movement was occurring simultaneously.

This genre saw much more female involvement as bands like Pearl Jam, Nirvana, Alice in Chains, Soundgarden and more were all comprised of male members and seemed to cater to men given their rough and aggressive sound.

Don't get me wrong, I appreciate Nirvana and other all-male shoegaze bands just as much as I do bands with female members, but the importance of having female representation in bands of the 90s was crucial as it set the scene for current experimental musicians.

The first time I was introduced to the shoegaze, or shoegazing, genre was in the film Lost in Translation.

My Bloody Valentine's song 'Sometimes' was featured in a scene that follows Scarlett Johanssen's character as she rides a taxi through Tokyo after spending a night on the town with Bill Murray's character. (Great movie if you haven't seen it already!)

Since then, I have been hooked and captivated by the dreamy vocals and harsh noise associated with the genre and ask people I know for suggestions of all-female bands who produce this type of music. If you know of any, feel free to comment.

Current bands are still influenced by these groups from the 90s, such as Whirr, Grouper, Tamaryn, True Widow and more.

Some of the bands I will mention still even perform, having been functioning groups since the late 80s or with a break in between activity.

~

My Bloody Valentine (1983-1997, active equally in 80s and 90s, Bilinda Butcher was key female member on split vocals and guitar)

Yo La Tengo (1984-present, active for all 10 years of the 90s, Georgia Hubley is sole female member on split vocals and drums, also designs cover art for albums)

Black Tambourine (1989-1992, Pam Berry is vocalist, one of earliest Slumberland record label groups)

Slowdive (1989-1995 & 2014-present, majority of years active were in 90s, female Rachel Goswell on split vocals, guitar and bass. Goswell later went on to join Mojave 3.)

Bleach (1989-1993, Salli Carson is vocalist) 

Loveliescrushing (1991-present, primary vocalist is Melissa Arpin-Duimstra)

Mazzy Star (1988-1997, 2000, 2010-present, majority of years active in the 90s, Hope Sandoval is lead singer)

Luminous Orange (1992-present, from Japan, Rie Takeuchi is now sole member but group started out as all-female)

Malory (1995-present?, from Germany, Daniela Neuhaeuser is split vocalist and guitarist)

Feature: Feminism Up To Eleven

I have an interesting blogger to introduce: Jessica Roti has a blog similar to mine based on both being focused on women in music. However, Roti's blog is much more in depth as to why certain artists can be considered feminist or not. Here's the interview I did with her. It was a pleasure to interview someone I have so many views in common with. Enjoy!

-

“Put it up to eleven” goes the classic quote from the ‘mockumentary’ This Is Spinal Tap.  The quote is rightly referenced in the music critique blog “Femme Louder”, which aims to facilitate dialogue on how music is influential and at times detrimental to mainstream representations of women.

The blog’s content will largely be centered on female musicians, therefore providing a voice not represented in This Is Spinal Tap, by the “Femme Louder” female author. While this may sound exclusively female, all audiences are welcome to read and engage with the blog.

University of Illinois at Chicago senior and aspiring music journalist Jessica Roti combines her gender and women’s studies major with criticism of the music industry.

“Femme Louder”, Roti’s blog title, fuses both of those worlds together. Her goal with this blog is to show how musical representation, both lyrically and visually, affects the way women and men are perceived in the industry and real life.

Because the way women are perceived differs from genre to genre, Roti said she will emphasize and provide heavier coverage of rock, pop, hip/hop and rap as those are the genres she is most familiar with and can provide more informative coverage on.

The feminist blogger would like to focus on both lyrical and visual content of music videos and artist performances, but she feels that because young people react mainly to visual stimulation, she will sharpen her focus to explaining her thoughts utilizing images and videos.

Some influences for her blog and its topic are positive feminist icons such as Brody Dalle of The Distillers and Kathleen Hanna of Bikini Kill who reject expected gender presentations.

Roti believes the stigma and negative connotations attached to identifying as feminist are “ignorant and ridiculous,” so she openly identifies as one to show that it does not equate with man hating and other false stereotypes. 

Roti would like feminism to be more accessible to a larger audience and show that it is a positive label.

Somewhat boastful, Roti admits that her feminism began at the young age of 6 when she had a strong dislike for girl versus boy gym class activities.

However, her senior year of high school is perhaps the more defining moment of when she realized that there was a need for a feminist space in mainstream media. As a child she would mock pop stars from television, who were often sexualized, because those were the accepted versions of women and femininity.

“I believe in the power of social media but I don’t think everyone uses social media to further their own agendas,” Roti said. She aims to do so herself for this reason.

Roti promotes her feminism through Twitter, Facebook and Tumblr, which are all-inclusive of transgender, queer, gay, lesbian and other identities.

Due to Roti’s vocal support of feminism, she has lost some friends and believes that she would not be successful were she to hold “heterosexist, white elitist, patriarchal views.”

“Feminism doesn't exclude anyone, my feminism doesn't exclude anyone, and that's how I live my life.” 

To stay updated on how Roti employs her feminism ideals through mainstream music criticism, here is her blog: femmelouder.wordpress.com.

[UPDATE: Made on 3/18/14 at 12:15 pm]

Special: Angel Olsen

I'd like to take a break from posting generational content before I get to the 1990s and shoegaze.

Angel Olsen, rightfully named, has an angelic voice unlike anything I have heard come out of the underground music scene. The first time I heard her sing, I was instantly reminded of the Once Upon A Dream song in Disney's Sleeping Beauty.

Olsen's voice is equal parts enchanting and classical. Watching her in videos, it is hard to believe such a young person with a small physical frame can sing so powerfully and is able to captivate audiences who frequent punk shows.

Her talent is unparalleled as far as any acts currently in the underground scene. If her celestial vocal cords don't move you to some emotion or give you chills, I suggest you seek medical attention or stop polluting your musical palette with radio hits.

1980s & Alt Rock

My first time hearing about Sonic Youth is from the 2007 film Juno, when Juno and the adoptive father of her child listen to old CDs. They dispute the generational influences of rock and punk bands, of which Sonic Youth and member Kim Gordon are mentioned.

However, the only song by the band that was played in the film was a very quiet, mellow tune called 'Superstar," which only featured the voice of Thurston Moore. It was originally performed by The Carpenters who were active from the late 60s to early 80s.

It wasn't until I downloaded more of their collection that I realized the talent of singer Kim Gordon. Her voice is powerful, deep and unlike anything I have heard previously. Needless to say, I was hooked.

Another band that I was introduced to through a movie, Fight Club to be exact, was The Pixies. Although their two female members were not lead vocalists and are currently no longer with the band, they have made their mark on the punk scene regardless.

Kim Deal was with the band as backup vocalist, bassist and songwriter and has seen success with The Breeders since 1990. While latecomer Kim Shattuck's role in The Pixies was much more limited, she is far more important in The Muffs, which formed in 1991. Both groups still continue to perform.

(^This should make you dance! Or maybe that's just me...)

Additionally, Hole featuring Courtney Love, formed in 1989. As Kurt Cobain's female counterpart, her voice had equal power in giving my skin goosebumps based on the raw emotion she sings with.

[UPDATE: Made on 3/18/2014 at 7:45 p.m.]

1970s: New Wave and Early Punk

Two notable female musicians from this time period are Debbie Harry of Blondie and performer Patti Smith. Blondie's sound can be described as new wave pop and rock while Patti Smith can fall under the punk genre.

Debbie Harry, with her blonde hair and glam appearance, and Patti Smith as a female in punk, were unlikely contenders to break into such exclusive scenes. For that reason, their success is all the more significant.

Blondie was the first of its kind to use movie allusions, fashion statements and musical influences which included reggae, rap, synthesized sound and art noises in order to define their look and music (Metz, 2002, Chapter 6). Source

Patti Smith, although different in both appearance and sound than Debbie Harry and Blondie, both seemed to have similar goals with their careers: revolution.

In a 2013 interview with The Guardian, Patti Smith said of the release of her first album:

"When I was young, all I wanted was to write books and be an artist. I got sidetracked, almost as a mission, to give something to the canon of rock'n'roll in the manner in which people I admired had. In other words, forming a cultural voice through rock'n'roll that incorporated sex and art and poetry and performance and revolution." Source

These two women are only among many who gave their name to an all-male genre dominated by masculinity.

[UPDATE: Made on 3/18/14 at 12 p.m.]

1960s: The Girl Group

You may not know it, but The Ramones cite as two of their influences The Crystals and The Ronettes. Learning of this I was shocked because it is not often enough that I hear men include as part of their influences any women artists, largely keeping certain music genres male-centered.

Male-centered was a way to describe mainstream music up until this point.

The Crystals, The Ronettes, and the like, including but not limited to The Supremes, The Marvelettes, and The Shangri-Las, were a breath of fresh air musically and visually from the rock and roll which preceded the girl group era and was followed by the (white) British Invasion.

The girl group era largely featured almost exclusively women of color. This dynamic set the foundation for recent groups such as TLC and is evident in the fact that Beyoncé only tours with an entirely female cast of musicians and dancers called The Suga Mamas.

Here is "And Then He Kissed Me", the song played in the film Goodfellas of which initially introduced me to the group.

Chicago Punk: The Male Elite

I used to attend basement shows in Chicago where I would be completely surrounded by a sea of sweaty men but was never bothered by the fact that no women were in these bands, perhaps blinded by the sense of "community".

Eventually, after hearing too many lyrics where whiny men complain about their unreciprocated infatuations that bordered on creepy, I decided to move on from the male-centric scene and made it somewhat of a goal to only listen to female vocalists.

I was always thankful for Lemuria and the lead singer/guitarist, Sheena Ozzella. She showed me that women can carve out their place in a male dominated music genre such as punk and completely own it.

Here is the first song I have ever heard by them, which continues to be my favorite song by my favorite band to this day, seven years later.

Now here is a song about Sheena Ozzella by a band that has clearly been influenced by Lemuria that celebrates another woman's achievements rather than condemns or criticizes them.

Why female musicians?

I believe that female musicians need to be given a voice, more than what they may already have, because they have been far more influential to their respective time periods than what we may think.

However, not only are these female musicians of my choosing influential to their own respective generations, their influences can still be visible today.

I will concede that the artists I highlight are chosen from my own subjective point of view but hopefully you will find my insights interesting and empowering.



[UPDATE: Made on 2/20/2014 at 4:00pm]