Conversational | Deborah M. Withers

by Annie Gardiner, 30 April 2010...

Just when you thought the current feminine music bloom couldn't get any more exciting, Deborah M. Withers releases this brilliantly accessible take on feminist theory via the music of Kate Bush. Withers creates a thrilling, witty read through the beauty and complex femininity of Kate Bush's work, tying it together with some deep and perhaps otherwise specialist feminist theory. The book helps to empower, demystify and give language to the feminine in music that is just as important now than it ever was. I recently caught up with the author to discuss her groundbreaking book.





Keep your eyes peeled for The Girls Are's review of Kate Bush and Theory.

Conversational | Rosie Vanier

by Jane Bradley, 28 April 2010.

You might already have heard of Rosie Vanier. The angel-voiced saucepot’s previous band, Rosie & The Goldbug, had a stomping live reputation; they toured with Cyndi Lauper for almost all of 2008, and the Guardian called them “Kate Bush on crack with Goldfrapp on synths.”

Critics fawned over them, and their lyrics kept listeners intrigued with a lurid, syrupy mixture of whimsy, lust and bite. For a while it seemed as though Rosie & The Goldbug were well on their way to world domination. Then, without warning in August 2009, there was an announcement on their Myspace, saying that the band would be going their separate ways. At the time, all that was said was: “the three of us are very sad about this, but we can no longer continue with the band. We would love to explain and tell you all the details, but we can’t.”

Fast-forward two months to October 2009, when I managed to wangle some time to chat to Rosie, and she'd already bounced back with a new band, RubyVamp. Now, in April 2010, that also seems to have been disbanded, and according to Rosie's Myspace, she's been in Mexico and New York, working on material for her solo career.

When we chatted, my first question was inevitably about the reason behind the Goldbug split, and Rosie somehow managed to be a charming combination of outspoken and cryptic: “Rosie & the Goldbug was killed by a bad curse who’s name I cannot mention,” she said. “My creativity was crushed by this person. I was pushed into a corner; a black, damp and evil corner. I had to start again. But I still love Rosie &The Goldbug, I still have my goldbug tattooed over my feet and it will continue to be in my heart. Forever and ever, amen.”

We soon got to talking about all the media acclaim for Rosie & The Goldbug; an enviable accomplishment for an unsigned band. I speculated about what Rosie could achieve with the backing of a major label, and as with every other topic, she was passionate and opinionated in her reply: “I would sign to a major, but I don’t have to have one for people to hear what I do. The music industry is different now. I’m about the art, not the deal. Some A&R dudes don’t get that, so you do have to be careful. There are pros and cons to both. If you’re unsigned, you’re independent, so you can be much more creative. ”

Following the 2008 tour with Cyndi Lauper, Rosie’s been very much in demand. With a voice that can move between a bewitching hoarse whisper guaranteed to send shivers down your spine, to guttural growls and banshee howls, it’s no wonder she’s shared stages with such musical superstars as Glen Matlock, Wayne Carson and Brett Anderson.

So I was curious about about what other famous faces she’d encountered. Cyndi Lauper she described variously as “fucking incredible”, “my muse” and “an education.” Kirsten Dunst was “cute.” A famous Calvin Klein model made amorous advances towards her, but she politely declined: “He was wearing Calvin Klein pants and mine were from Primark!” Who else? “Tyson from the All American Rejects once wrote me a song. I played him ‘This Mess We’re In’ by PJ Harvey and Thom Yorke in a rental car I had in LA. I think he liked it. He’s a sweet, sweet person. I have a lot of love for my fellow musicians and comrades.”

Although I’m sure they wouldn’t admit it to such icons as Cyndi, Siouxsie or Debbie Harry, there are still some foolish folk who view women in rock as something of a novelty act, so I asked Rosie whether she’d faced any hostility on this front from other musicians. “The girls I’ve met and think are real are Cyndi, of course, as well as Marcella Detroit, Little Fish and Natasha Khan. I must admit there are a few out there who don’t match up to that calibre, but I won’t mention them. But I know the girls I do mention are not novelties. They are real musicians, and so am I. I’m a songwriter and a performer. Like any other guy, girl, hermaphrodite or fisherman who makes great music. We’re all the same, regardless of our genitals. To be honest I have never had a problem with anyone not taking me seriously because of my gender. I do have small tits, though, so maybe that’s why! I don’t know if I’d class myself as a feminist but I do know what’s right and what’s wrong and if I feel someone should step down and behave themselves I don’t hesitate to tell them.”

After this interview, I was even more besotted with Rosie than I had been beforehand, and although she's even more of enigma now than she was then (what happened with RubyVamp? What will her solo material sound like? When will she be touring again?), one thing's for certain: this isn't the last we've heard from Rosie Vanier. She'll apparently be releasing a solo album at some point this year, but in the the meantime, keep an eye on her Myspace for more:

http://www.myspace.com/rosievanier

Work Place Radio Clash

by Steph Hamill, 19th April 2010...

Mazzy Star

Let's be honest now, we all think we've got great taste in music. Am I wrong? So, if Joe of uncultured Blogs at desk five doesn't appreciate the finer workings of Pat Benatar, then I (quite rightly) feel it my duty to school him in all classical musical matters, a la School of Rock. Jack Black, I salute you!

This afternoon I have had the misfortune of attempting to guide the musical tastes of Joe Blogs* (fake name, for his protection), a die hard and seasoned techno head (I kid you not). We began the 'lesson' through the sharing of a couple of Spotify playlists. Ease him in, or so I thought. Well, I was somewhat surprised to hear all manner of huffs, puffs and other unintelligible sounds I cared not decypher. Now, these songs weren't just any old bit of filler, but tried and tested classics ranging from Kate Bush, The Beatles (they got a gaffaw; seriously, I almost swung), Joni Mitchell was skipped and The Cure... (Well, I'd rather not discuss it. Let's just say it brought a tear to my Cure loving eyes).

Ignoring the purely shocking lack of regard for raw talent, I perservered and invited a mutual playoff session, ending in an equally shocking manner. Essentially, the guy doesn't get guitars. Or bass (guitar, he certainly gets the computer generated kind). Or piano. Or a voice without autotune. A voice at all for that matter. Unfortunately, I could go on. Bearing in mind, I pulled out some big guns;  Janis Joplin, The Pretenders, Heart, Patti Smith, Mamas and the Papas, Salt N Pepa, Aretha Franklin, PJ Harvey, Bjork, Tori Amos, The Yeah Yeah Yeahs, Mazzy Star, Madonna, Blondie, Garbage, Fiona Apple, Kylie even. No joy, whatsoever.  He simply looked pissed off.

The best comment was, however, saved for last; "women are crap musicians." Let the musical work placed battles begin. I'm also going to lend him my copy of School of Rock.

Review | The Complete Short Stories

by Little Miss B, 15th January 2010: all photography by Rachel Ferriman for The Girls Are.

The Complete Short Stories @ Pandamonium.
The Wilmington Arms, 8th Jan 2010. 

This review is woefully late because (as a writer I am reluctant to admit this) I've been struggling to find words that aptly describe The Complete Short Stories. Any old regular joe, garden variety words would just not do. Unearthly words were called for; evocative and many-layered. Living in a world of Twitter, the facebook status and the text message, such words are criminally under-used, and it has taken a good seven days to dust off my magniloquent cerebral thesaurus and get down to some serious scribing.


Introduced to The Complete Short Stories by The Girls Are photographer Rachel, I was wholly uncertain of what to expect from this show. Sardined into the narrow back room of The Wilmington Arms, I appeared to be surrounded by fierce fans, all keen to vocalise their fandom. I had done some internet rummaging prior to the gig, and had come across similar uber-affection and shining recommendation: "entirely unlike anything you beautiful people have ever had the pleasure of dancing, howling and dreaming along to". With such high praise ringing in my ears, this could have gone one of two ways: severe anti-climactic disappointment, or joyfully signing myself up to the legion of loyal admirers standing alongside me.


Oh wonderful readers, twas the latter, the latter, and consummately so...

A vaguely shambolic looking bunch of seven (wonderful: is like Enid Blyton band of plucky youngsters!), The Complete Short Stories are made up of Gavin, Grant, John, Toby, Naomi, James and the wonderful Kerry on vox. A fantastically experimental blend of folk and indie, these guys charmed their way through the entire set, weaving ribbons of colour and sound into spectral, dense tales of other-wordly adventures. What initially appears as  layered, slightly chaotic noise, blossoms into beautiful, ethereal, galloping songs. I almost wished the surrounding jostling and whooping would cease, so we could all stand in happy silence and bask in the fragile loveliness of this band. If Edgar Allen Poe, Kate Bush, and Camera Obscura got together, took loads of opium and wrote some songs, this would be the result.


Like folky wonders and personal favourites Peggy Sue, The Complete Short Stories have a knack for pulling you headfirst into their songs: impish Little Red takes you by the hand and leads you on a journey into a vibrant and mysterious sonic world, whilst never compromising the fundamental tenets of a good song: catchy, melodic, with foot-tapping beats. 'Farm' and 'One Blank Channel' were the standout tracks.

Being a serial nit-picker, however, I did have one gripe: Kerry's earthy, honeyed voice was often drowned out by the other instruments. Whilst it did not marr the performance, it was indeed a shame. Wilmington sound man: tsk tsk. I fully understand that depsite the gush-fest above, not everyone will love this band; I'll even go so far as to say they are an acquired taste. But, if like me, you have a weakness for folk songs, mariners yarns and fairytales, then you too will fall head over heels.


The band are releasing single 'One Blank Channel' on 11th March.


The Complete Short Stories | Lately

www.myspace.com/thecompleteshortstories


To read more reviews by Little Miss B, click below:
Spinnerette 
Laura Marling 
L*dyGarden 
An Experiment On A Bird In The Air Pump
L*dyGarden2