Posts Tagged ‘Sarah Lipstate

27
Jul
10

Quick Hits, Volume 1: New things I’ve been listening to this year

Recently, I put together my list of favorite albums and tracks from this year for another publication. In doing so, it occurred to me that some of my offerings were not discussed here. There are three reasons for this. For one, I don’t write about dudes’ music because I don’t need to be another outlet that tells you the new Flying Lotus record is great (though Scratched Vinyl wrote up a nice review). For another, I’ve never viewed this blog as a tastemaker. I don’t tend to follow trends, I like to take time to absorb things, and I often find myself defending or reconsidering obscured pop cultural artifacts. Finally, if I can’t figure out a way to discuss something from a feminist perspective, it often gets passing reference or entirely misses this site’s purview.

But some readers (primarily friends I consort with in my real life) tend to ask me what I’m listening to. I’ve mainly subsisted on a steady diet of Cocteau Twins this year, which I’ll elaborate on in a later post. However, I always try to keep up with new material. While I’ve mentioned some relevant artists (Janelle Monáe, Sleigh Bells, Dessa, Mountain Man) and avoided more obvious selections (you can assume that I like Björk and Dirty Projectors’ Mount Wittenberg Orca). There are also some artists I overlooked, which is why I’d recommend that you check out last year’s offerings from Grass Widow and Talk Normal, as well as encourage fans of The Knife to scale back two years to listen to The Nextdoor Neighbors’ Magic Vs. the Machine, which Kristen at Act Your Age clued me into after a clip for “Liars” was made at Reel Grrls’ music video workshop. The artists below may not come out of left field for some readers, but I thought I’d briefly outline some releases I’ve liked this year that you might also enjoy.

Georgia Anne Muldrow - Kings Ballad (Ubiquity, 2010); image courtesy of ubiquityrecords.com

Georgia Anne MuldrowKings Ballad

You may not know it, but the prolific Muldrow is having quite a year. She’s already released a solo record and SomeOthaShip with rising star Declaime, the latter of which caught NPR’s attention. Kings Ballad has been on continuous repeat this summer, yet another smart, eclectic mix from Ms. Muldrow. While some people elected Katy Perry’s inane “California Gurls” as their seasonal anthem, I gotta go with Muldrow and Declaime’s “Summer Love.”

Nite Jewel - Am I Real? (Gloriette Records, 2010); image courtesy of consequenceofsound.net

Nite JewelAm I Real?

Ramona Gonzalez has been on my radar since last year’s SXSW. Her new EP delivers the Xanadu on Xanax sound that’s become her trademark. It’s not a startling record, but it’s got a good groove that warms up an icy sound. I’m not sure if we’ll care about chillwave in five years, but I’m pretty sure I’ll pull this record out after a long night of partying transitions into early morning ruminations. Regardless of what wave it’s currently riding, it’s good music to chill out to.

No Mas Bodas - Erotic Stories From the Space Capsule (s/r, 2010)

No Mas BodasErotic Stories From the Space Capsule

Austin pride. Member  Sheila Scoville graciously invited me to this album’s CD release party earlier this year, which I regrettably could not attend. However, I read Audra Schroeder’s review of their album, gave it a listen, and became a fan of the group’s hypnotic fusion of synthesizers with cello (like Björk, I’m a big fan of music that pairs electronic and acoustic instrumentation). I caught them during a lunch performance at Girls Rock Camp Austin earlier this summer and while I think they have yet to master their live presentation, I still find this haunting record to be full of potential.

Noveller - Desert Fires (Saffron Recordings, 2010); image courtesy of sarahlipstate.com

NovellerDesert Fires

Sarah Lipstate is another Austin affiliate, though she’s making her name in New York and parts of Europe following a stint with Parts & Labor. I was certainly aware of her talent when she was one-half of One Umbrella and sat in with Glenn Branca during the time we shared as deejays at KVRX, and I’m impressed with the solo work she’s doing now. Wasting no time following up her debut full-length Red Rainbows, Lipstate continues to build and invent upon her abstract guitar work with her second album. While she also accompanies her performances with self-made films, I really appreciate that the sonic landscapes she creates can let your imagination wander.

White Mystery - (s/t) (HoZac, 2010); image courtesy of pitchfork.com

White Mystery – (s/t)

I had the pleasure of catching Chicago sibling duo Alex and Frank White at the GRCA SXSW day show and they killed. They were also really nice and personed their merch table stocked full of self-made goods, including a pair of tie-dyed underwear. Ms. White actually teaches merch workshops, which is extra awesome. Their self-titled debut may especially appeal to rock purists looking for some new garage rock to blast in the car.

What albums have you liked this year? Who are your new favorite artists?

31
Jul
09

Call to Action: Listen to Noveller

Sarah Lipstate, aka Noveller; image courtesy of loumuenz.com

Sarah Lipstate, aka Noveller; image courtesy of loumuenz.com

So, perhaps you’ve seen the trailer for It Might Get Loud. I’ve seen in at two different movie screenings. For the uninformed, it’s a documentary about how “three icons get together” in the name of rock. These three icons are guitarists Led Zeppelin’s Jimmy Page, U2′s The Edge, and The White Stripes’ Jack White.

I bet you know how I feel. The words you want are “wank” and “decadeism,” accompanied by an eye roll.

Now, apart from confirming my suspicions that The Edge relies too much on effects pedals, I don’t have any real beef with these dudes. Oh, I also think the whole stage name business with the aforementioned David Evans is dumb, but duh. It’s just — why these three? And then comes my obligatory question that is often met with a compromised answer, if it’s even addressed: where are the guitar-playing women, girls, and/or people of color?

I’ve provided at least two counterexamples for the women – Marnie Stern and St. Vincent. Today, I’ll add one more. Sarah Lipstate, aka Noveller. Her gloriously named Red Rainbows comes out this fall. Can’t wait.

Full disclosure: Sarah and I were acquaintances at KVRX. We never hung out, but I always knew she was really talented (and not just with guitar — for example, I once saw her play a theremin at a house party). When we were at KVRX, she was recording as one half of One Umbrella, for whom she also made experimental films, which she continues to do (she’s a UT RTF alumna as well). She’s also performed with Glenn Branca and finished a stint with Parts & Labor. And I’m really excited to see her breaking out on her own. You should be too.

20
Apr
09

I celebrate the body spastic: Why I’m all about Molly Siegel

Siegel at CMJ 2008; photo originally taken by Michael Falco for The New York Times

Siegel at CMJ 2008; photo originally taken by Michael Falco for the New York Times

So, Molly Siegel has been on my mind for a while now. When I was conceptualizing this blog, I knew I wanted to talk about her. For those who don’t know, she’s the lead singer of Ponytail, a Baltimore-based experimental pop band. In terms of sound and composition, they aren’t that far off from Deerhoof, a musically adventurous band I got into during my salad days ias a deejay at UT Austin’s KVRX (aka, fall 2002). I’d listened to Ice Cream Spiritual, Ponytail’s first full-length a bit last summer when it first came out. It was okay, but kinda all-over-the-place and I just don’t think I was ready to listen to it. Then I looked on Pitchfork’s year-end lists and the album was selected by Sarah Lipstate of Parts & Labor (who also worked at KVRX) as one of her favorite albums of the year. And, you know, Sarah was always a cool kid, so I thought, hmmm, okay, let’s try this again.

And then shit blew my mind. I went from thinking the single “Celebrate the Body Electric” was kinda okay to a magical place in which I wanted to inhabit. So I played the album and Kamehameha, their first EP, on a loop in anticipation of their attendance at SXSW 2k9. Long story short, their performance at Club de Ville the Saturday that I saw them was one of the best shows I saw during the festival. So great. Damn can they play. And they’re really fun live — they smashed a giraffe piñata and threw candy at the audience. I ripped off a leg for my desk.

But I didn’t just see Siegel on stage. I saw her at the Mirah show (wearing a Ray Lewis Ravens jersey, no less) and also PJ Harvey‘s set as Stubb’s. (Aside: Michael Azerrad, who I saw at both the St. Vincent show at Central Presbyterian and the PJ’s show at Stubbs’ was also at Ponytail’s show. He stood right next to me and took pictures of the piñata. I’m pretty sure my shoes are in some of those shots. If you see a pair of blue Reeboks on the Interwebz, they’re mine). So, I guess I have Siegel’s (and Azerrad’s) taste in music. I’m okay with that. I at least think we could be music geek friends.

But the more I kept thinking about the show, the more entranced I became with Siegel’s performance and style. Anyone who’s listened to Ponytail knows that Siegel’s not one for words, instead usually preferring to coo, grunt, or scream in a sort of automatic language, foregrounded all the more by her spastic, confrontational stage presence. Pitchfork’s Mark Richardson asserted in his review of their first full-length that the stream-of-conscious, pre-verbal stages of childhood was a potential influence on both Siegel’s vocal approach and the band’s musical sensibilities (an approach he aligns with the work of fellow Baltimorean Dan Deacon). While there’s definitely merit to that argument, I think there’s something else going on, perhaps a site through which queer, non-normative girlishness can be accessed.

No, I don’t think we can wrench Siegel’s lesbian identity from her persona or performance style. Nor should we. Nor do I think she’d want to, if her casual references to the Indigo Girls (who were playing the same time as Ponytail when I saw them) are any indication.

I can’t speak for Siegel, but I can’t help but wonder if her sexuality is central to how she views her place in music culture. For one, she’s the only woman in the band, no less a band with a noisy, chaotic approach to music. For another, she is not an instrumentalist in that band and is thus in what many folks conceptualize as an objectified, often feminized position for a band member to occupy. To add to that, she doesn’t fit the standard female body type long adhered to within hipster culture. While short, she is far from gamine — a bit stocky, by no means dainty. Also, she doesn’t outfit herself in youthful, fashionable, traditionally female attire (think Jenny Lewis). Instead, she clomps around in Timberland boots and football jerseys, garments traditionally aligned with masculine dress made frumpy and destabilized by her petite figure.

In short, Siegel’s presence is unquestionably queer, a fact which informs her vocal style. Rather than infantile, as others may suggest, I’d argue that Siegel’s voice is actually quite complex — at times angry, giddy, abuzz with sexual delight, flip, petulant, seething with contempt, or uncertain of either herself or the world around her. In short, she seems to occupy a more complex matrices in which women (masculine women, no less) can claim space for themselves.





 

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