Conversational | Lisa Mitchell

by Ashlea Maher, 19th March 2010...

Like any rose, Lisa Mitchell is a fragile and tender beauty. Her timid guitar and soft acoustic guitar licks weave together seamlessly to project interesting and beautiful folk arrangements that have seen her blossom as the next all-the-rage artist. Her escalation is interesting given her career was born out of the five-minute-fame reality television hype. The English-born Mitchell moved to Australia when she was three, and after growing up feasting on the likes of The Beatles and Cat Stevens, Mitchell relished her chance to shoot for popstar glory by entering Australian Idol. aged 14.

But it was evident once competition got serious that her folky songstress nature wasn't going to fit the contrived three-minute ballad mould that such competitions require. Mitchell has made her own way to stardom on the strength of her original work. Her first EP's (yes, Idol contestants can release EP's) One Said To The Other and Welcome To The Afternoon were graciously accepted in the UK, US and Australia, and she released her debut album Wonder in 2009.

Wonder is the result of high-profile collaborations in the UK and Australia, and was recorded while Mitchell was living in the UK from 2007. She played Glastonbury last year, just completed her first ever solo tour of the UK and was awarded the coveted $30,000 Australian Music Prize last week. not bad for someone who is only 19!

"People are very quick to claim you as their own. It's a bit of a tug-of-war at the moment between the UK and Australia, but it's good. I love both places". Mitchell is said to be growing up as one of the new breed of chick folk pop singers, comparable to the likes of Regina Spektor, Feist and Laura Marling. Looking back on conversations, live shows and meet-ups with Mitchell in recent months, it is obvious how much she is a star in the making, without any commercial marketing needed. 

"Song writing for me is usually trying to create something that will give me proof of hope, like a packed lunch for the future or something", Mitchell said during her recent UK tour. "I'm a chronic journal writer, so it's kind of like when I just can't write it down, when there has to be even more of a human element to it, whether my voice or the chords... I guess it's just like proof that I can move forward. Usually it's about losing or re-finding hope or happiness. Most of my songs are written around that cusp. I guess it's a survival mechanism for me".

After collaborating with producers Andy Barlow (Lamb) and Sacha Skarbek (Adele), Mitchell said she is happy to have broken the mould. "I feel a lot free-er with my music now" she explained. "Every time I work with someone I'm gonna pick up little habits that they do that I quite like, or just everything kind of influences somehow. I always write a lot by myself, but it was good for me doing co-writes. It's like exercise for the mind. You literally cannot get stuck in your own ways because you're constantly being refreshed the whole time".

Mitchell's debut album Wonder is out now, and single 'Oh Hark' is out on April 12.

http://www.myspace.com/lisalisamitchell

Review | Lisa Mitchell

by Ashlea Maher, 16th March 2010. All photography by Sara Newman

Lisa Mitchell @ Monto Water Rats, Tuesday February 9th

We came. We saw. We left early.

Mitchell was second on the bill at a showcase at Monto Water Rats on Tuesday, and it was packed! An Aussie/British battle played out anew, as the fight for pre-performance pole position raged before Mitchell even took to the stage. The Australian contingent defiantly stood their ground, while the Poms moaned about  being jammed up close against their Commonwealth cousins. Pfft, we should be used it; it was just like a District Line peak hour commute after all.

So, arriving after the unknown first act with my festival etiquette in full force, I attempted to enter the seething pit (weird for a chick rock gig). Maybe I’m getting old, but I backed out and took up my position up the back, my view hampered by the tag-along boyfriends. I better get braver before Glastonbury. Cue camera stuck up in the air to see folk-pop pixie Mitchell greet the tense crowd with a sharp new haircut, a glam gold dress and the tune Coin Laundry – popular among everyone regardless the crowd war.

 

Clean White Love, Neapolitan Dreams, Pirouette, cool new single Oh Hark! and an average cover of Dire Straits' Romeo and Juliet later and the set was over. Was that it? Apparently so.

We fought for national pride, for a 30-minute set and no encore? Surprisingly, yes. After a five-minute ‘will she or won’t she’ wait for an encore, Monto’s went from not being able to swing a cat, to a more normal Tuesday night gig scene as the next act set up. And who was it? No-one cares. Lisa was over. With only a vague memory in which to write an appraisal, I went in search of comment to give my review the 'view' it needed, and where better than to start at the top; with someone who definitely was at the front.

A congenial Mitchell - who'd hung around at the bar after her set longer than most of her fans - said she really enjoyed the gig and was blown away with all the support. I have it on good advice too that a local Monto regular was also quite blown away by the level of the Aussie turn-out; overheard at the urinals (like I said, good advice), exclaiming, “I’ve never seen it this packed in here". His equally disgruntled pal reliably informing him, "Yeah. She’s from Australian Idol”. The Pom next to me in the crowd, however, preferred to weigh up the tight situation in fiscal terms: £6 ticket + a beer ÷ 6 song set = £1.33 per song. "Not really value for money," he declared.

Were you near the front and lucky enough to catch a glimpse of Lisa performing? If so, leave your comments below and help Ashlea add some 'view' to her review.

Song Of The Week | Diana Ross

by Little Miss B, 15th March 2010...

Upside Down

 

You may have noticed it has been unnaturally quiet in The Girls Are camp this week, a condition attributed to our impending move and new website preparations. Behind the scenes, stress, frustration and inevitable meltdowns have been lurking, so in a desperate attempt to cheer ourselves and lift weary spirits, we have dug deep into disco and.... *relax*

Song Of The Week | Fever Ray

by Little Miss B, 8th March 2010...

Keep The Streets Empty For Me

I could list all the reasons she listed, I could say it is because she asked me, I could wax poetical on this choice... But instead, I will just say this is for my darling Layla. Brilliant photographer, brilliant colleague and most wonderful human being. Bisous x

Read All About It | Girls Girls Girls

by Little Miss B, 4th March 2010...

It's that time again folks: time to get sport your beast threads and head down to the Old Blue Last for another fun-filled all-night all-girl party, hosted by the ever fantastic Dance Magic Dance ladies.

♥ Playing Live ♥

BETTY AND THE WEREWOLVES

These Damaged Goods darlings mix perfect girl group melodies with no-nonsense punk guitar riffs 

with a result that'll have you dancing, smiling and howling into the small hours.

http://www.myspace.com/bettyandthewerewolves

PETER PARKER

Glasgow glitter punk outfit ft Jane McKeown of the legendary 90's girl band, Lung Leg.

It's their only London show and it's going to be amazing so be sure not to miss it!

http://www.myspace.com/peterparkerglasgow 

THE RACKET

We hold this band very close to our heart, not only does it comprise of our bestest friends in the whole wide world, 

members of The Duloks, Sexual Hot Bitches, Official Secrets Act and our very own Dance Magic Laura, we were there 

when they formed whilst eating pizza and watching End of the Century and Rock 'n Roll Highschool. 

We were there maaan. 

Long live The Ramones.

http://www.myspace.com/theracketteam 

♥ On the Decks ♥

EAGLE LEGS

Ladies from Brightons ace Shebang Magazine 

play their favorite girly tunes.

DANCE MAGIC DANCE

Stevie! Stevie! Stevie!

♥ ♥ ♥ ♥ ♥ 

Saturday 6th March

THE OLD BLUE LAST

8:00pm till late

FREE ENTRY!

♥ ♥ ♥ ♥ ♥ 

Facebook event:

http://www.facebook.com/event.php?eid=483590545174&ref=ts

Review | Storm In A Teacup

by Little Miss B, 1st March 2010. All photography by Layla Smethurst for The Girls Are...

Becca (Word Play) + Verity + Kissing Kalina @ Storm In A Teacup/Fat Quarter launch, The Victoria, Mile End.

Something is happening in London. 2009 saw an unprecedented increase in lady activity, with female-centric projects seeming to spring to life, left, right and centre. As a result, 2010 promises to be the year of the girl, with aforementioned communities and ventures gaining serious momentum. New to the roster is female arts collective and social enterprise (and wonderfully monikered) Storm In A Teacup, a collaborative endeavour aiming to promote women working (and playing) in the arts. Even though barely a nipper, the project has already escalated with a fanzine, club nights and record label all in the pipeline. Launching the endeavour alongside feminist magazine Fat Quarter, The Girls Are popped along to see what all the fuss was about. 

Becca (Word Play)

I unfortunately missed the spoken word performance by Becca of Word Play fame (TFL, you are going down) but thankfully arrived in plenty of time to hear the welcome speeches, music acts and brilliant DJ (within an hour of arriving, she had played Battant. Sold). Full to the brim with keen onlookers, friends and like-minded individuals, the atmosphere proved supportive and relaxed (when so often, these sorts of things can be a little staid and 'cooler than thou'). 

 Verity

Founding member of Storm In A Teacup Verity was the second artist to take to the stage, joined only by an acoustic guitar and epic grin. Effortlessly enveloping classic Americana, guttural blues and sweet folk sounds, Verity is a rare breed of performer. Simultaneously theatrical yet utterly without pretence, she laughed her way through a short but impressive set that aptly evinced her powerful, expressive voice. Imagine a young Michelle Shocked (before she went all Gospel). Needless to say, she was greeted with rapturous applause, regulatory 'whoops' and genuine appreciation.

 Kissing Kalina

Kissing Kalina were the last band to step up, and step up they did. This London based-three piece have produced one of my favourite records of late with the colossal and savvy 'Sirens'. With their roots in punk rock and riot grrrl, this band produce an expansive, multi-layered sound: a fascinating and endlessly immersive blend of garage rock, and downright filthy electro overtones. With the moody, stomping bass, the contrast of Dan's high energy performance with bassist Lill E's poise, Viv's frenetic synth swelling from the back corner of the stage, Kissing Kalina played a solid set. Current single 'Here She Comes' was sheer brilliance, and the incessant, sleazy guitar effects spell bound the crowd. This band have swagger, with Lill E's proper Laaaandan accent providing the icing on the free cupcakes doing the rounds.

A brilliant project, hosted by a brilliant team proved to be a brilliant night. Keep your peepers peeled for more from Storm In A Teacup and The Girls Are.

For more on Storm In A Teacup, visit here.

http://www.myspace.com/kissingkalina

 

Review | Goldsmiths Ladyfest

by Little Miss B, 1st March 2010. All photography by Layla Smethurst for The Girls Are...

Bracelettes + PENS + Wetdog + Veronica Falls @ Goldsmiths Ladyfest.
DJ by Girl Germs.
Thurs 25th Feb 2010.

Regular readers will know this is the year of Ladyfest Ten, an anniversary celebrating a decade of lady action, achievements and general awesomeness. Not due to take place until November, expect to see a legion of associated events in the run up. Just like last week's Ladyfest, hosted by the wonderful senoritas at Goldsmith's. The fourth night of a five day run saw inspired line-up, Bracelettes, PENS, Wetdog and Veronica Falls take to the stage. Arriving to an alarmingly empty student union, it was not long before the simple pleasures of such a night became apparent: sofa to sit on, a pint of cider for a mere £2.20, and a smorgasbord of lady-tunes provided by DJ's Girl Germs. Nice. After a brief soundcheck, first support Bracelettes kicked off the proceedings with gusto.

Bracelettes

This undeniably charming, London based three piece consists of Ayako (guitar + vox), Satori (bass + vox) and Mark (drums), and I am ashamed to say this is the first time I've seen them live. Another one of those low-fi bands you stumble upon on Myspace, they far outstrip the majority of their contemporaries in terms of flair and skill. With matching bass and guitar, they skipped through a short but accomplished set, never faltering. Their simplistic, surf-inspired, garage rock calls, clearly display a certain level of ardor. This band are tight, slick and well-rehearsed, yet retain a sense of playfulness and spontaneity: a skill in its own right. Obvious comparisons would be to Mika Bomb and the 5.6.7.8's, with the Bracelettes ladies echoing the rabble-rousing girl chants that Japanese garage rock bands do so well, yet there is a heck of a lot more to these guys. Heavily tattooed Mark, pounding relentlessly at the drums, drove each song smack into the audience, as Ramones-esque bass lines and guitar riffs punctuated the beat. Sharing vocal duties, the girls revelled in playground cat-calls, and we the audience could not help but smile. So popular and impressive were they, we ended up losing our seats, space and prime position as the room filled with keen-bean, old and new fans. Definitely one to watch.

PENS

After a brief and stressful trip to the packed bar, The Girls Are favourites PENS were the next band to step up. They played a fantastically chaotic set, with timings and vocals going awry, but as ever, it did not matter. Always managing to stay just the right side of the DIY/low-fi aesthetic vs. just plain shit divide, they cruised through their set with nonchalance, flippancy and a very visible sense of fun. I love a multi-instrumentalist. I love a band who swap instruments. I really do. Now, the PENS ladies can never be described as being particularly proficient on each instrument, but to do so would be to disregard the very thing that makes this band so frackin ace. Consummate crowd-pleasers, and purveyors of some of the catchiest songs I know, it was a crying shame that the vocal levels were sub-par. Without full vox, these songs can become slightly repetitive. However, they were close to the best I have seen them, and yet again, PENS never fail to disappoint.

Wetdog

Wetdog were clearly and irrefutably the most interesting and entertaining band of the night. If you have not seen this three-piece before, I firmly suggest you do so, post-haste. With their undulating, deliciously menacing basslines, their antiquated, eerie guitar parts, and their bizarre, haunting call and response vocals, they sound like no other band I've heard, despite what every review written about them would like us to believe. A vampiric Vivian Girls, a haunted Huggy Bear, all fall short of what this band actually capture. Marching, rhythmic, and brilliantly elemental, the core and crux of this band is their kinship to the human heartbeat, the rhythms of our own bodies, so that even when off-kilter, it is impossible to resist tapping a foot, or nodding one's head when these ladies play. Yet, they remain firmly tongue in cheek, never succumbing to the uber-serious and somewhat tedious discussion surrounding them. What was an interested audience quickly metamorphosed into a frenetic crowd soon after Wetdog launched their musical assault.

Veronica Falls

As ever, Veronica Falls played a faultless set. It would be misleading to state that they get better with each viewing, as this might somehow imply they were ever anything less than impeccable. Beguiling and majestic in equal measure, the Comet Gain-loving four piece managed to get everyone up on their feet, the revellers swamping the band, leaving one big party pit that continued on through the night. Need we say more?

A huge and resounding well done to the organisers of this event.
You should be proud as punch.

To see more photo's from the night, please click here.

http://www.myspace.com/bracelettes

http://www.myspace.com/penspenspenis

http://www.myspace.com/wetdogthebest

http://www.myspace.com/veronicafallshard

Song Of The Week | Tune Yards

by Little Miss B, 1st March 2010...

Hatari

Ok, I've been a little spaff-happy when it comes to Tune Yards of late, but I just took a stroll through Muswell Hill whilst listening to 'Hatari', and the sun was shining, and people were smiling and it has quite made my day. Enjoy.

The Week In View | 1 - 7 March

by Little Miss B, 1st March 2010...

Super duper. As always, let us know of more.

 Doll And The Kicks @ Barfly

Wed 3rd:

Girl Germs, DMD & Scene not Herd @ Carfter Dark Ladyfest fundraiser, The Victoria
Spit + Elissa Franceshi + Witches of Eastwick @ L*dyGarden, Lock Tavern

Thurs 4th: 

The Complete Short Stories @ Bucks Uni
Doll & The Kicks + Annaca + Sea Fields @ Barfly
Twat Boutique club night @ Dalston Superstore
Peaking Lights + Swallows + Woolf @ Barden's Boudoir

Fri 5th: 
November Fleet + Dimbleby & Capper @ Barfly
Queen Bees club night @ Off Broadway

Sat 6th:
Betty & The Werewolves + The Racket @ Girls Girls Girls, Old Blue Last
The Most Cake Party @ The Book Club

Sun 7th:
Stina And The Soldiers @ Barfly

Read All About It | Ladyfest Goldsmiths

by Little Miss B, 25th Feb 2010...

As part of the celebration of ten years of Ladyfest, Goldsmiths College is putting on a host of awesome female-fronted bands at the Goldsmiths SU tonight, including the smoky garage rock of PENS, the bassy, skewhiff riot grrrls WETDOG, and the upbeat punk sounds of BRACELETTES! Shoegaze sweethearts Veronica Falls will be headlining: cripes.

Girl Germs + DaftKunt will DJ, and the Feminist Society & co. will provide cakes. All proceeds go to women's charities.

Only £3 from here and the SU shop, or £4 on the door.

Doors 8:30pm, first band (Bracelettes) on at 9 and last band (Veronica Falls) off at midnight, with DJing till late.

http://www.myspace.com/penspenspenis

http://www.myspace.com/wetdogthebest

http://www.myspace.com/bracelettes

http://www.myspace.com/veronicafallshard

Read All About It | Storm In A Teacup / Fat Quarter Launch Party

by Little Miss B, 24 Feb 2010...

If you have alternative plans for this Friday, I suggest you cancel them. I suggest instead that you get yourselves down to The Victoria in Mile End for the Storm In A Teacup & Fat Quarter launch party.

Storm In A Teacup is a London-based collective set up with the aim of promoting women in the arts.

Fed up with finding no platform for their amazingly talented female musician, writer, poet, artist and illustrator friends, founders Beth and Verity decided to do something about it. The launch, alongside that of feminist magazine Fat Quarter, will feature cupcakes, poetry, DJ's and brilliant band Kissing Kalina.

The Girls Are will be there to support, and I SUGGEST you do too. Lovely jubb.

http://www.fat-quarter.co.uk

Review | Bertie Blackman

by Little Miss B, 22nd Feb 2010. All photography by Rachel Ferriman for The Girls Are...

Bertie Blackman @ Koko, 18th Feb 2010.

Bertie Blackman is a fantastically interesting artist. Having started writing songs at the tender age of 14, she is currently promoting her third album at a very young 25 years old. Her first foray into the music mainstream was folk-inspired debut 'Headway', followed by rock-influenced second album 'Black'. Back with the brilliant electro-pop delight that is 'Secrets & Lies', Bertie has produced a foot-tapping, dance-floor-filling eclectic mix of melancholic, ethereal and joyful sounds; this album is set to be a summer hit. We decided to brave the creche that is Koko on a Friday night to see Bertie Blackman in action.

Every couple of months I find myself privy to a performance of utter brilliance, sheer force and astounding precision. This was one of those performances. Sad, then, for it to be marred by a moronic section of the largely underage audience intent on ruining everyone else's night. The aforementioned morons took form in five barely pubescent boys located a few feet from the stage. Not satisfied with infuriating their neighbours by starting a mosh pit (at an electro-pop gig) and thwacking a fair few teeny girls round the head, they then decided to launch 50p pieces at poor Bertie onstage. With good grace she quipped that she would now be able to "afford a bus home" (sorry love, not round these parts), but from that point on it was evident that this phenomenally talented artist wanted to get through the set, and just leave (who could blame her?)

Yes boys, you are SO big. You are SO clever. Everyone was SO impressed.

What can not be faulted however, was Bertie's performance itself. Fierce, enigmatic, faultless, energetic and at times quite touching, she poured heart and soul into every song. Current single 'Black Cats' caused cheers and whoops from an over-excited crowd, and personal favourite 'Thump' was the highlight of the show. Seamlessly fusing tongue in cheek lyrics, electro-clash pop sensibilities and classically solid songwriting, she commanded the stage. Her inimitable voice rang through the entire venue (no small feat in the cavernous Koko), whilst moving furiously across the stage. It is an absolute joy to see such power radiate from a lady of such diminutive stature. Bertie only played a 30 minute set, which with hindsight suited the crowd and venue, but we left feeling sligtly short-changed.


Bertie Blackman is playing Barfly on 27th Feb. I suggest you go.

http://www.myspace.com/bertieblackman


To buy the album, click here.

Song Of The Week | Swan Island

by Little Miss B, 21st Feb 2010...

Night Owl

*sigh*

Oh woe, woe... Another brilliant band who no longer exist. Thanks to the lovely Ethan who gave me this delicious giftage for my ears.

Read All About It | Ladyfest Ten Fundraiser

by Little Miss B, 22nd Feb 2010...

Ladyfest Ten presents a creative fundraiser...

CRAFTER DARK: 'YOUR MUM'

Weds 3 March, 7pm til late
@The Victoria pub, 110 Grove Rd, London E3
Nearest Tube: Mile End (5 mins walk away)

Come along and make gifts for MOTHERS & OTHERS DAY. 
Create your customised 'heart-felt' brooches, pin cushions, cards and more.
Materials provided, £3 minimum donation. Feel free to bring along your own scissors, needles etc.

PLUS:
DJs Girl Germs // Dance Magic Dance // Scene Not Herd & CAKE SALE feat. The Great Cake Escape

Whether you're a craft superstar or a craft virgin, girl or boy, young or old...come along! Everyone welcome. Crafter Dark is a new series of creative and fun fundraising and social events for Ladyfest Ten.
www.ladyfestten.com

The Week In View: 22 - 28 Feb

by Little Miss B, 22 Feb 2010...

Another brilliant week of shows: let us know of more!

 New Young Pony Club @ Islington Academy

Mon 22nd: 

New Young Pony Club @ Islington Academy

Tues 23rd:
Liz and the Ligers @ The Underbelly, Hoxton

Wed 24th:
Dum Dum Girls + La La Vasquez @ Old Blue Last

Thurs 25th: 

Dum Dum Girls @ Bardens Boudoir
Acoustic Afternoon @ Ladyfest Goldsmiths
Bracelettes + PENS + Wet Dog + Veronica Falls @ Ladyfest Goldsmiths

Fri 26th: 
Storm In A Teacup/Fat Quarter Launch with Kissing Kalina @ Victoria, Mile End

Sat 27th:
Chapter 24 @ Biddle Bros

Review | White Rose Movement

by Little Miss B, 20 Feb 2010. All photography by Gemma Trickey for The Girls Are...

White Rose Movement, Hoxton Bar & Kitchen, Thurs 18th Feb.

Support by Think About Life + Live Like Lions.

I was introduced to White Rose Movement by partner in crime, Trickey. We have fawned, adored, and played 2006 hit album 'Kick' to death. Hence, upon discovering White Rose Movement were to be headlining the Hoxton Bar & Kitchen after a long hiatus, we rejoiced. Having missed support band Think About Life at Cargo a few days previously, Tricks and I were keen beans and headed down to the venue, full of gusto at the night ahead.

What we did not account for, however, were TFL dramatics, technical problems and the ever-present issue of fighting one's way through the crowd with expensive equipment. Yet again, we arrived just as Think About Life were finishing up their set. One day, we will actually review this band, I promise.

What with the somewhat chaotic events of the evening, I can only be grateful that White Rose Movement proved to be as good as we expected. Although not packed to the rafters, the room was filled with an air of expectancy and excitement. After the catchy, pop, synth-wonder that was 'Kick', I was keen to see how the new, more mature sound would play out on stage.

There is no doubt about who the performers are in this band. Adorned in tight white jeans, and a sleeveless white T, Finn is the consummate frontman: his statuesque, sinewy, strutting body perfectly befitting the darker, more brooding material being showcased. Poppy on synth and backing vocals, with her short dark shock of hair, her black garb revealing a flash of torso flesh. Owen, Jasper and Ed (obviously, being the drummer) were always a few steps back, maintaing the tight and driving foundations upon which Finn and Poppy soared.

As is the case with performing new material, audience response can be muted. New track 'Helsinki' raised rapturous applause, and the brilliant 'Small and the Witches Revenge' saw Poppy take on lead vocals, with Finn and Owen hammering away at the synth. However, the real swell came from old favourite 'Love is a Number'. This is not to say the new tracks are not great: far from it, but with a revered back-catalague such as theirs, one would not expect anything less.

As seems to be routine at this venue, there were some issues with the sound levels, but largely this was a brilliant show by a brilliant and enigmatic band. Less pop-oriented, and much more grown-up, their new material promises great things from White Rose Movement in 2010.

http://www.myspace.com/whiterosemovement

Review | Tune Yards

by Little Miss B, 16th Feb 2010. All photography by Rachel Ferriman for The Girls Are...

Tune Yards + Trash Kit + Think About Life @ Cargo, Mon 15th feb.

Trash Kit

There was a lot of love in Cargo last night. Hyperactive, anticipatory, gleeful love. Packed to the rafters, we unfortunately arrived just as openers Think About Life were finishing their set (luckily for us, they will be supporting White Rose Movement at Thursday's Hoxton show). Trash Kit followed with their particular and original brand of shambolic and riotous girl noise. As ever, this three-piece put on a brilliant show: pounding, tribal rhythms, short, punchy anthemic tracks, and many a smile-inducing moment. As ever, this three-piece took a few songs to warm up and get into their stride: they experienced timing and tuning issues throughout the set, yet managed to hold it all together with charm and laughter. The only gripe I ever have with seeing this band play live, is that their sound levels are never quite right: considering the two Rachels (singer and drummer) have such great voices and interesting harmonies, it never seems to make much sense to me that the vocals are always the quietest facet of Trash Kit live. Finishing the set with a cover of 'No Limits' (sending the crowd into utter delirium) was the cherry on top of a stirling show.

Tune Yards

I have only recently been introduced to the sheer brilliance that is Tune Yards, and I cannot believe I have lived this long without her in my life. Tune Yards is the brainchild of New Englander Merrill Garbus, and is pure, unadulterated genius. Fusing african beats, world music, reggae, folk, dance, pop and some of the most incredible vocals I have ever heard, she is unclassifiable. Loving her music, but not knowing what to expect from a live show, I was floored. This was one of the most powerful and inspiring performances I have ever seen, and I doubt anyone else in the crowd would beg to differ.

Tune Yards

Two drums, two mics, a dizzying array of pedals and a bass player set the stage. Launching into the opening lines of 'Bizness', an unassuming, cheery, war-painted lady went on to hook every member of the audience, wrap them around her little finger, and not let go, long after the second encore ended (I am still giddy). She seamlessly mixed audience favourites ('Hatari' being a highlight) with new tracks, deftly using the loop pedal and minimal on-stage instruments to recreate the complex, layered sound of her album. Her fervid, earthy voice caused spine-tingles and goose bumps all round, and such was the volume of the audience's response, this insanely talented lady was forced to perform both new track 'You Yes You', and popular favourite 'Sunlight' during the encore.

Tune Yards

If you only see one show in 2010, make sure it is Tune Yards. If you are not blown away, I fear there might be something seriously wrong with you. As the fantastic Ruth Barnes said to me before we left, I feel we have just witnessed something really quite special.

To hear Ruth's interview with Merrill, head on over to The Other Woman:

http://www.theotherwomanmusic.co.uk/

To see all of Rachel's photo's from the night, click here.

http://www.myspace.com/tuneyards

http://www.myspace.com/trashkit

Introducing the Pleasure Seekers | The Garage Band Roots of Suzi Quatro

by Sini, 16th Feb 2010...

We remember Suzi Quatro as a jumpsuit-wearing glam/boogie rock goddess from the 1970s who was very much ‘one of the boys’ when fronting her otherwise all-male band. Not many know that when her first hit ‘Can the Can’ was released in 1973, she had already been performing for nearly ten years. The road to stardom was long and rocky (read Suzi’s autobiography Unzipped to find out more) and required her to relocate to England to work with famed producer Mickie Most. Nevertheless, the story started back in 1964, when 14-year-old Suzi formed an all-girl band with her sister Patti in Detroit, Michigan.

According to Suzi’s autobiography, the Quatro sisters were inspired to form a band after seeing the Beatles on the Ed Sullivan Show (it seems most garage band stories start like this!) The first line-up featured Patti on lead guitar, Suzi on bass, Mary Lou Ball on rhythm guitar, Nancy Ball on drums and Diane Baker on piano. Vocal duties were at this stage shared, even though Suzi sang lead on most numbers. However, between 1964 and 1969 the group had several line-up changes and became even more of a family affair as two more Quatro sisters joined the group (Nancy as lead vocalist and Arlene replaced Diane on piano).

Whilst it has been commonly thought that the band were named after a 1964 Ann-Margret film, Suzi states in Unzipped that the group in fact took their name from a dictionary; the definition for ‘hedonist’ caught their eye and they thus became the Pleasure Seekers. Their first gig was at a popular local teen club called The Hideout, and the band soon became a well-known live attraction at the club. The Hideout was the place to be for teenagers in Detroit in the mid-60s, and other acts that played regularly included The Underdogs (remembered for their fantastic version of ‘Love’s Gone Bad’), the Four of Us (featuring young Glenn Frey of The Eagles!) and Bob Seger before his 1970s heyday.

The Hideout empire also boasted a record label, which released the Pleasure Seekers’ classic 45 ‘Never Thought You’d Leave Me’/’What a Way to Die’ in 1965. Both of the songs were written by Hideout maestro Dave Leone, and while the single pretty much bombed in the 60s, it has later become a much-valued collector’s item. ‘Never Thought You’d Leave Me’ is a driving but melodic (and melodramatic) garage girl number which proves that, by garage rock standards, the girls were rather accomplished on their instruments. The song was sung by drummer Nancy, and featured girl-group style vocals – there is even a spoken part à la the Shangri-Las in the end of the song. ‘Never Thought You’d Leave Me’ is a great piano/vocal-driven number, but the real treat here is the garage punk smash ‘What a Way to Die’.

Most girl garage songs from the 60s are stylistically somewhere between garage rock and girl groups, and they deal with boys, dating and the inevitable heartbreak. ‘What a Way to Die’ was something else: a song about heavy drinking performed by a bunch of teenage girls (in this context it is hardly surprising that the song didn’t become a hit in the US)! The narrator boasts: ‘When I start my drinking/my baby throws a fit/So I just blitz him outta my mind/with seventeen bottles of Schlitz!’, and remarks that even though her boyfriend has a body that makes her ‘come alive’, she’d still rather drink beer. All this is rather risqué for a young American girl in 1965. Musically the song is repetitive (especially for the drummer) but effective, and young Suzi’s vocal delivery suits the track perfectly. She growls in her lower register and spits out the lyrics with such punk arrogance that very few garage vocalists from the era were able to do the same – eat your heart out boys!

After their mid-60s Hideout days, the Pleasure Seekers became a more professional act. They toured all over the US, and played with the likes of Chuck Berry, Eric Burdon and Gladys Knight and the Pips. They were signed to a major label (Mercury Records) for a while, and even entertained the troops in Vietnam in 1968. Nevertheless, national and international success evaded them. Musically, they became remarkably poppier (just listen to 1968’s ‘Light of Love’), but by the end of the decade they had changed their name into Cradle and started playing hard rock. Suzi moved to England in 1971, but Cradle soldiered on until 1973 when they called it a day.

In the late1960s, Michigan became a hotbed for loud and nasty-sounding rock ‘n’ roll bands such as the Stooges and MC5 who came from a similar garage band background as the Quatro sisters. For me it is a shame that the Pleasure Seekers did not take a similar path – I have a feeling they would have rocked out big time!

Conversational | White Rose Movement

by Little Miss B, 13th Feb 2010...

If you have ears, any semblance of taste and have drawn breath in the last few years, you will have heard and appreciated White Rose Movement. A wonderful blend of late 80's synth, electro-clash, brooding melancholia and impossibly catchy melodies, White Rose Movement are set to return to the fore, with news of a second album, and a headline show at Hoxton Bar and Kitchen on the 18th February. Oh happy days!

Critically acclaimed, adored by loyal fans, and writers of one the most exceptional songs of recent times, this band have been keeping busy in the four years since releasing debut album 'Kick'. They've toured the world with the likes of NIN, Placebo, Bloc Party, The Kills and Gary Numan, withstood a line-up change and nearly driven two producers to mental illness during recording of their new album.  All in a day's work, non?

White Rose Movement are Finn Vine (vocals/guitar), Jasper Milton (guitar), Owen Dyke (bass), Ed Harper (drums) and Poppy Corby-Tuech replacing original member Taxxi on keys. Having played singles Love Is A Number and Testcard Girl practically every day since they first burst into public consciousness, The Girls Are, needless to say, jumped at the chance to grill synth wizard Poppy ahead of Thursday's show.

White Rose Movement

Hi Poppy: first of all, thanks for talking to The Girls Are!
You're playing in Hannut tomorrow, London next week and Istanbul shortly after: it would seem 2010 is off to a good start?

P: Yeah, it feels good to start the year on such a positive note. There's something about the new year that clears your brain a bit. I'm excited about 2010, it feels significant. I'm off to Hannut at 5am tomorrow and really looking forward to it, Belgium is always good to us. I need to start packing and not watching the top 100 greatest hits of the 90s though... 

(Editor: woman after my own heart)


News about the upcoming Hoxton show is starting to do the rounds, and is already causing quite a buzz. Are you looking forward to a more intimate gig, having just played a festival?

P: Definitely. We played at HB&G last year and it really was an amazing show, really rammed and with such a buzz. We feel like this time it's really a showcase for our new material and and that's exciting. Club gigs and festivals are so different and there's nothing like being up in front of a huge crowd but with this upcoming London show, it feels like an appropriate place.


You joined the band in 2008 after former keyboardist Taxxi (Erica McArthur) left to return to art college: how did your induction into White Rose Movement come about?

P: I received a rather ominous text message from Owen. I was in Spain at the time with my cancan troupe and he was being very shifty, he wouldn't speak to me on the phone about it so I had to wait until I got back to England a couple of days later. He ended up asking me to join the band at my aunt's 50th birthday party on a Norfolk beach in a drunken haze. I'm not entirely sure whether it was the alcohol but I couldn't really say no. I'd known the guys for a long time - Finn is part of my extended family - and I think that when Erica left they wanted someone who they knew well and who could fit in without catching up on years of friendship. The band set up is quite unusual; we share family, friends, grew up in the same parts, the same schools, it's really very close knit. The only one I didn't really know was Ed but it turns out we went to the same high school and grew up within a few miles of each other. It's a pretty incestuous set up you could say.


You were studying fashion at the time: did you ever see yourself becoming a full time, touring, professional musician?

P: Not at all. I'd had fashion in my mind since a very young age and never anticipated joining a band. I guess there's always a little part of you that dreams of being in a rock band but it never seemed a feasible scenario. I was at fashion college when I joined White Rose Movement. It was my final year and I'd had a worrying realization that this may not be my port of call. Being asked to join a band seemed like a thoroughly inappropriate idea - especially three months before graduation - but somehow  it made total sense to me. Finn likes to think he saved me. Without being dramatic I think it did in a way.

I'd never touched a synthesizer before I joined White Rose Movement. My background was classical; Chopin, Satie, Debussy. I've always been a big music fan but played classical piano. My grandmother was and still is an incredible pianist and really encouraged me to take lessons as I was always making up melodies and playing my favorite pieces by ear. When confronted with a synth for the time I was slightly terrified of all the buttons, especially when I started using a sampler aswell. Then I realized that playing a synth is just the same only it becomes a toy that you get to fuck around with.


When you joined, the band were recording a new album: what was it like to join during such an intensive, creative process?

P: Well I joined the band quite a few months before we began recording. When I started, the guys played me their demos, which were a various stages of completion. I remember Cigarette Machine practically being done but some of the others didn't have vocals, or were just bass and drums. There were so many, we spent a good six months in the studio trying out different things, changing the structures around, adding riffs, vocals etc. By the time we began recording, we had about 25 songs and some of those evolved massively in production. We didn't know which ones were going to make the cut so we just did them all. I also had to learn the old songs from 'Kick' so in fact it felt more like learning 40 new songs! I was finishing up my degree so it was somewhat intense but I found that intensity productive and it really made me absorb a hell of a lot of information.


How much creative input have you had on the new album, in terms of songwriting?

P: At the time I joined, I felt like a lot of the work had been done. In retrospect, a lot changed during those few months and I actually feel like I was more involved than I initially thought. I spent a lot of time in studio recording my parts for the new album and that was a real learning process for me and something I really enjoyed. Our producer Robert Harder really took that on board and asked me to work with him on a track, unknown to the others. We came up with our version of Icicle which is a stripped down electronic track that's on the new album. Possibly the most terrifying experience though was recording Small and the Witch's Revenge. It was this strange instrumental track that Jasper had been working on for a while and it didn't have much of a structure, it was really just a rhythm, a bit like Green Onions. He had an idea to record french vocals and being bilingual, it was my job to do so. I became Joan of Arc for the day and yelped and screamed to get that vocal. I was petrified and stressing like a maniac, making the others leave the room. I felt really pissed off that I was being told to sing(ish) as I'd signed up for playing keyboard. But yeah, in the end, it felt good to be involved in that creative process but a part of me is still fucked off I now have to get up stage and perform the damn song.

Poppy: photography by Elementaki: Flickr here.

Your sound is multi-faceted and many-layered: how do you achieve this? Describe your songwriting process.

P: It totally depends. Primarily it's Finn and Jasper who write the songs, specifically the lyrics. Sometimes they can be fully formed songs, other times something much more vague. A a band we're pretty democratic and we all like to have input, I think even more so with this new record. As we've spent so much time in the studio over these past two years we've had a lot of time to jam and naturally that has resulted in the creation of new songs. I think as time goes on and you get to know each other more, the music evolves into something that's much more coherent and honest. I feel like this record is pretty honest. Our influences are varied but we somehow get each other's tastes and understand what the White Rose Movement sound is so there' s usually a good balance to have.


Finn has been quoted as saying that your presence not only positively affected the sound of White Rose Movement, but also the way in which you approach things as a band, yet it must have been tough to feel as though you could really make your mark at that particular time?

P: I'm not sure how things were before! It's nice to think that I've brought some positivity into the band, that probably derives from the fact that I'm a pretty optimistic person and counteract some of their borderline goth tendencies! Having a new presence in a group that's spent so much time together must change a lot of the dynamics and I guess that must have been refreshing in a way.  I suppose I did initially worry about making my mark and not just being a replacement but over time and as we got got busier and I more involved, it didn't seem a concern. I certainly threw myself into as much as I could, from the management to the creative side, so I felt a part of the band in that way too.


At the time you joined, the band were also still playing the old set across Europe: did it feel strange to be playing someone else's parts, or could you view it as useful live practice?

P: Yeah, definitely strange but quite amazing! I'd been a fan of the band for a while so being in my first rehearsal and playing Love is a Number with them felt good more than anything. And it felt even better playing it on stage. The fans love those songs and it's nice to get some love when you play them. Hopefully we'll get that with the new record too.


Finn has also been quoted as saying of Taxxi's departure, "it can't have been easy travelling the world with a bunch of blokes". How have you found touring?

P: Touring is probably my favourite part, I really love it. I love going away, gigging, hanging out with these guys and having a laugh. I'm not particularly girly and certainly not prudish; my sense of humour has become considerably more filthy and twisted but that can only be a good thing. I've spent ten days on a tour bus with 13 guys from Ulterior and Romance and had the best time ever. People always ask me how I cope being with blokes all the time but it's never even been an issue. I can imagine that being in a band with a bunch of girls would be far worse!


Magazines like Wears The Trousers were born out of the desire to correct the under-representation of women in music: do you feel that women are under-represented? What importance, if at all, does gender play in your identity as a performer?

P: Men are easily seen as musicians whereas women have to struggle for that recognition. Especially those with a strong image. Having style seems to undermine you as a female artist, it might confirm you as a fashion icon but rarely a music icon. I think that comes from that very old fashioned view of women being judged purely on aesthetics and men for their artistic merits. There have been many incredible female artists yet somehow they get grouped together purely because of their hair colour or the fact that they play a synthesizer. I think it's important to assert yourself as a female, whether you're a sexed up diva or a tomboyish crooner, and celebrate it. Gender plays an important part of White Rose Movement. We've always felt of androgyny as a factor of the band but I think it's the morphing of androgyny that makes it interesting, the unclarity of gender and fucking around with it. The boy/girl aspect of the band plays a part in it too, it affects the sound and the perception, the way we don't fit in to a typical indie rock band nor a pop band. 


The majority of journalists mention A Flock of Seagulls, Joy Division and 80's electro-clash in the same breath as White Rose Movement. If you were forced to genre-identify your music, where do you feel you most comfortably sit?

P: I think that's really lazy journalism. Just because a there's a hint of flamboyance to a band doesn't mean you're channeling The Human League. People always feel the need to compare a band to another in order for it to make sense. I think those labels were often thrown around without people actually listening to the music, they were just looking at it. I'm not sure what our genre is plus I think the musical style has evolved into something quite different with this new record but I certainly wouldn't compare it to A Flock Of Seagulls!


What is 2010 going to bring for White Rose Movement?

P: Our new album! A Chrismas number one!


What current bands do you rate?

P: Dave I-D, the new Usher stuff


And now for some questions we ask everyone:


Describe your sound in 5 words:
P: Sound like White Rose Movement

What are your guilty musical pleasures? 
P: I have severe R&B tendencies

What the world needs now is:
P: 'Love, sweet love'

What's next?
P: Bed! I'm still watching that 100s greatest dance hits of the 90s and they're playing 'Good Life'

You are headlining your dream, all-star tour: who would your tour mates be?
P: I'd love to be a backing dancer for Justin Timberlake.



White Rose Movement: Helsinki





White Rose Movement will be headlining Hoxton Bar & Grill on Thurs 18th Feb. For tickets, click here.

White Rose Movement are currently putting finishing touches to their as yet untitled follow-up to feted 2006 debut ‘Kick’, scheduled for an early 2010 release.To get a taste of White Rose Movements’ forthcoming electronic opus, download Helsinki here.

http://www.myspace.com/whiterosemovement