KATASTROPHY WIFE
Kat Bjelland is a modern icon. A reluctant one, yes – she’ll argue otherwise – but an icon all the same.
Ever
since she saw Girlschool ripping it up with Motorhead at the age of sixteen
Bjelland has been cranking it up and turning down for no-one. After first playing guitar in a
surf band called The Neurotix as a teenager, then inspired by the likes of The
Cramps, The Ramones and The Wipers, Kat fronted Babes In Toyland, one of the
most significant rock bands to come out of the American underground in the past
two decades. Along with the likes of Nirvana, Mudhoney and The Pixies, Babes In
Toyland made groundbreaking, empowering music on their terms. Indeed, one of Kat’s brief
pre-Babes bands Sugar Babylon featured Courtney Love and Jennifer Finch, later
of Hole and L7 respectively.
Having
formed in Minneapolis in 1987, Babes In Toyland debuted for Sub Pop, their music
resolutely pro-female from the get-go, yet without ever resorting to clichéd
feminist dogma. True female voices
were struggling to be heard amongst the hairy, hoary rock pigs littering the
arse-end of the 80’s but Babes In Toyland changed all that.
Debut
release ‘Spanking Machine’ locked down the Bjelland sound: all venomous vocals,
serrated guitars and bilious punk fury. This in a time when Paula Abdul was
about as challenging as it got. Stylistically, Kat contributed more than most
too: her unique ‘kinderwhore’ look of thrift-store baby doll dresses and garish
smeared lipstick a huge influence on what was soon to be termed grunge.
With
the further releases of ‘To Mother’
(1990), ‘Fonatelle’ (1992), ‘Painkillers’ (1993) and ‘Nemesisters’ (1995), Babes
established themselves as leaders and not followers, played some memorable
headline appearances on the Lollapalooza tour, built an almost disturbingly
loyal fanbase and notched up one million record sales. More importantly, Bjelland had started
fires. Leading exponents of the burgeoning Riot Grrl scene like Bikini Kill,
Bratmobile and Sleater-Kinney all name checked her as a major inspiration.
Rather than sticking to a winning formula though, Kat Bjelland eschewed the easy
corporate rock option and let her punk rock roots grow through. Her work here
was done. “At the very least we blew the door open for other
people…”
Katastrophy
Wife debuted in 2002 with the critically acclaimed ‘Amusia’ which also saw a
welcome return for Bjelland to the Reading Festival. An early line up change saw
Brits bassist Andrew Parker, drummer Darren Donovan, formerly of doom merchants
Sally and grindcore mob Mistress (Bjelland had previously worked with both on
noise project Lash Frenzy) and Vanessa White, former guitarist of Twist, all
join up.
“I
should point out that my new band fucking rule,” says Bjelland. “We have an
amazing chemistry so when we get together it’s really fucking
awesome.”
The
result of this new union is second Katastrophy Wife album ‘All Kneel’, recorded
fast and raw – just what the songs demand. This is fuzzed-up, highly-strung rock
that careers like a juggernaut, make no mistake, each lyric barbed and
venom-tipped. In Kat’s own words “the first half is full of the rocking
singles-type songs, the second half for the weirdo stoner rock people”. The
album also includes ‘Layne to Rest’, Kat’s tribute to late Alice In Chains
frontman and former Lollapalooza “party partner” Layne Staley and lead single
‘Liberty Belle’ that’s already clocked up a KKKK review from Kerrang! and heavy play on Radio 1, MTV2,
etc.
It was to Kat Bjelland that old friend Courtney Love recently turned when she announced her new, short-lived punk band, Bastard. “It seemed too conceptualised, like she’d spent too much time thinking about how a band should be,” says Kat. “Courtney and I make great music together, there’s a good spark there, but let’s say our personalities would not have been a great mix at that time.”
Citing
the likes of Yeah Yeah Yeah’s, White Stripes (“Most of these hyped bands are
really great!”) and her old blues records as her current preferred listening,
clearly Katastrophy Wife is a band born out of artistic necessity, a love of
volume and a desire to fuck things shit up! Bjelland may now be a mother but
settling down to total normality after twenty years of playing just isn’t an
option.
“I
don’t care much about the money or record sales, so long as the music is good,”
laughs Kat, shunning the notion that being the figurehead of a generation of
women – and men – was commercially rewarding. “I think Babes got paid, like,
once. Granted it was a big payment but
when we signed a deal, thankfully it was never about the money. I’m not
so good at accepting that I’m in any way influential…but I guess it is a
supercool compliment when people say that to me. I’m just happy that guitar rock
is around again. Something soulful to cling to.”
March
2004
"Intense, fuzzed-up grunge" Time Out
"A storming and gritty rock anthem" The Metro
"Liberty Belle does not disappoint. If the rest of the album is anything like this then it should be a good one" Organ
"This is what rock music should sound like" Playlouder
"Like a female fronted Datsuns. Nice one" Fake DIY
For further info, go to www.katastrophywife.com and www.katbjelland.com
meow
meow
Ambient
loops, warped Beach Boys harmonies and experimental, effects-laden guitarwork
underscore the mesmerising sound of Los Angeles 4-piece Meow
Meow.
Meow
Meow began as a studio project between Kirk Hellie and Christopher O'Brien.
Shortly after the death of their respective bands (Pink Noise Test and Brian
Jones Was Murdered), the prolific writing team amassed a large collection of
tunes in Kirk's studio. "Cracked" was their first release as part of a CD
compilation for the Japanese Chrome Hearts Magazine.
In
2003 the pair teamed up with drummer Norm Block (Plexi), bassist Michael Orendy
(Athalia) and engineer/co-producer Eddie Ashworth to finish their full-length
debut album.
"
Snow Gas Bones " is fuelled by a penchant for pop melodies and art-damaged,
found-sound sonics; a literate blend of fuzzed out/revved-up guitar anthems and
beautifully understated/stoned soundscapes.
Meow
Meow owe as much to the likes of Jesus & Mary Chain and My Bloody Valentine
as they do to decades of West Coast harmonies, with a hint of Merzbow noise and
some broken pre-war 78s thrown in for good measure.
Meow Meow are signed to California's Devil in the Woods Records for the US where the album "Snow Gas Bones" hit the streets in March 2004. The band come exclusively through Integrity Records for the UK, where the limited edition single "Cracked" debuted in May 2004 with support from Zane Lowe on R1. The album hit the UK streets in October 2004 (NME 7/10, Unpeeled album of the month) with a further Steve Lamacq endorsed single "Sick Fixation".
Meow
Meow are:
Christopher
O'Brien // Vocals, Guitar, Keys, Bass
Kirk Hellie // Guitar, Vocals, Bass
Keys, Electronics
Michael Orendy // Bass, Vocals, Keys
Norm Block //
Drums
"This
album is fresh, vital, intriguing and highly entertaining"
babysue.com
"The
album is an epic of improbable proportions. Bathe in wonderment"
cent.com
"It's
probably the best pop-ish record you've heard in a very long time"
alibi.com
"Irresistable melodies…an electric rush and a sweet, sweet taste" The Herald
million dead
Complex rock/post-hardcore 4-piece Million Dead came together in London in 2001. Frank (vocals) and Ben (drums), both formerly of Kneejerk, joined Cameron (guitar) and Julia (bass) to create an energetic, raw and melodic noise.
They took their urgent, dramatic live show around the UK in 2002, playing with the likes of The Icarus Line, 80s Matchbox B-Line Disaster and Kids Near Water, culminating in a stunning appearance at the Kerrang! Weekender.
Having closed 2002 with a deal with Integrity Records/Xtra Mile, Million Dead opened the new year with an invitation to play with Alec Empire at the Scala in London and a session with Liam at Toerag Studios to record their debut single.
"Smiling at Strangers on Trains" (INT 015)(3/2/03) was picked up by John Peel, Steve Lamacq, Mary Anne Hobbs and Mike Davies, as well as Xfm and specialist rock shows across the country. The gut-wrenching, x-rated video was played on Kerrang!TV and helped propel the single to number 14 in the National Rock Chart.
A guest slot on the last ever Pitchshifter tour in March and a RockSound sponsored co-headline tour with Jarcrew in April were followed by a few weeks at Mighty Atom Studio in Wales with Joe Gibb (Charger, Liberty 37, Catatonia, Funeral For A Friend) to perfect the stunning debut album "A Song To Ruin" which came out in the UK on September 1st. Kerrang! Editor Ashley Bird tagged the album as "Jaw-droppingly fiery, punk-fuelled noise laced with intelligence and soul...". The NME described it as "one of the rock albums of the year". The album came out in Japan (via Avex) on 12th November, with 2 bonus tracks.
The album was preceded by a single "Breaking The Back" which hit the streets on August 11th and was played by Mike Davies, Mary Anne Hobbs, John Peel, Steve Lamacq and Zane Lowe. The video was playlisted on K!TV, Scuzz and Mtv2.
The third single from the album, "I Am The Party", on cd and limited edition, hand-numbered vinyl (24/11/03) hit the OCC Top 10 Rock Chart and Indie Chart. The video stayed in the Mtv2/NME Most-Wanted chart for 5 consecutive weeks.
Million Dead took a new year break from writing new material to play a showcase at CBGB's in New York and returned to the US on March 20th for the SXSW Festival. They played a full UK tour, with support from XisLoaded and Yourcodenameis: Milo throughout April. Original guitarist Cam left the band to get married and was replaced by Tom Fowler (ex-Kneejerk). They ended the year with a new single "I Gave My Eyes To Stevie Wonder" (xtramile) and a period in the studio writing the second album "Harmony No Harmony", due out in May 2005.
"Melodic guitar slamming to ear-splitting effect" Kerrang!
"So nuts, it might just be genius" NME
"Emo meets hardcore and then kicks its teeth in. Love it" RockSound
"Refreshing, original and talented" Timeout
"An invigorating all-snarlin'-and-a-spittin' post-punk kick up the ears" The Metro
"It's all the best in US underground post-hardcore put through a UK filter and it's awesome" Kerrang!
"The body count is rising. Watch out for Million Dead" RockSound
Keep up with Million Dead 's adventures at www.milliondead.com
MISS BLACK AMERICA formed in October 1999 when singer Seymour met bassist Mike and drummer Neil at a drum 'n' bass gig in Cambridge. Inspired by a seething hatred for the deliberate stupidity and wilful apathy of their generation (and most of its music), they are the antidote to the poisons which brought about the death of the modern soul. Guitar genius Gish joined the band in October 2000, after Seymour's finger got ripped off his hand.
MBA have toured incessantly in their own right and supported the likes of Dandy Warhols, Doves and Alabama 3. Miss Black America's debut for Repeat Records, "The Adrenaline Junkie Class-A Mentalist EP" (May 2001) was picked up by Radio One DJs John Peel and Steve Lamacq, followed by a Peel Session for Radio One broadcast in July 2001. Their second single, "Don't Speak My Mind", came out in October 2001 on Dental Records, and also received Radio One airplay. Both singles appeared in John Peel's year-end Festive 50.
Their critically acclaimed Integrity debut, "Infinite Chinese Box" (March 2002), gained further support from Peel and Lamacq and wider interest from regional and student radio. The video, incorporating footage of an awesome live gig in their hometown, was featured on mtv2.
Two further singles, "Talk Hard" (May 2002) and "Miss Black America" (September 2002), were taken from "God Bless Miss Black America", their stunning debut album (recorded with Smiths/Jesus & Mary Chain producer Gavin Monaghan) released in the UK in September 2002.
Between tour after tour, Miss Black America managed to record further sessions for John Peel, Xfm, Virgin Radio, BBC 6, and BBC Radio Scotland, and played a live set from Maida Vale on Radio 1's Lamacq Live. The videos for both singles were well supported by mtv2. Their year culminated in the final gig of a 30+ date tour being broadcast by John Peel as part of Radio 1 Live in Nottingham, followed by all 3 of their singles appearing in Peely's year end Festive 50 (including Talk Hard at no.3 and MBA at no.11).
After an exhausting year, Mike and Neil left MBA to pursue a project of their own (with Mike on guitar/vocals). Gish has taken time out to complete his Masters Degree in music and to travel.
In December 2002, a new look Miss Black America was born, to take on the world in 2003. Never one to do anything by half, Seymour and his new bandmates made their live debut at the prestigious Eurosonic Festival in Groningen, Holland (as the special guests of Radio 1) followed by a week long Dutch tour. They returned to the UK to support Kinesis throughout February and Therapy? in May.
A limited edition split 7" on yellow vinyl on Repeat Records, in support of the ANL's LMHR campaign, sold out completely.
2004 saw further line-up changes and a period writing and recording their second album "Terminal", due out in 2005.
"It is VITAL that we reclaim rock 'n' roll from those who see it purely as a commodity. It's time the kids took over the candy store. We are your future, staring you hard in the face. Ignore us at your peril." - MISS BLACK AMERICA.
MISS BLACK AMERICA are: Seymour Glass (voice/guitar); Simon Cooper (drums); Mat Anthony (guitar); Jonny Steele (bass).
"MBA have all it takes to be your New Cult Heroes" – NME
"Pro-active punk worth pining for" – ROCKSOUND
"Enigmatic rockers" - KERRANG!
"Blind, youthful exuberance meets genuine nascent talent. Thrilling." - THE GUARDIAN
"Searing rocknroll infused with passion and nighteous fury" - EVENING STANDARD
"Thank God for Miss Black America" - NME
"We need Miss Black America" - THE FLY
"Explosive...adrenaline fuelled punk rock with classic outlaw attitude" THE GUARDIAN
"A band who really matter" - ROCK SOUND
"Band of the moment... they are good" - JOHN PEEL
Teenage 4-piece Antihero are Pete Hurley (vocals & guitar), Marcus Ratcliff (lead guitar), Davo McConville (bass) and Jack Hamson (drums & samples). Bored shitless with school, Stratford Upon Avon and Shakespeare, their headmaster told them they were only fit to "run into the guns". But the Army recruitment office was closed so they formed a band.
Their influences range from Everclear to The Smashing Pumpkins and The Pixies to The Beatles. Combined, they create the starkly contrasting sound that makes Antihero interestingly unpredictable.
In March 2001 their self financed and released cd single "MTV" picked up Radio One play from John Peel and Steve Lamacq. Their follow-up, "Whos Lookin Out For Number 1" (a ltd edition 7" on Dental Records), also got good support from Peely and was placed at number 38 in his end of year Festive 50. Having signed to Integrity in March 2002, Antihero contributed the track "Dying To Meet You" to Dental’s Rock Will Eat Itself EP.
Their debut Peel session, aired on 28th May 2002, preceded their first Integrity release "Rolling Stones T-Shirt" (INT 011) which hit the streets on June 10th. Written after an abortive night out, the subversively poppy lead track bemoans the fact that the girl you really want never really wants you. The single, produced by Smiths/J&MC producer Gavin Monaghan, was backed by the dark, infectious rock hand grenade "You Got Nothing" and the quirkily emotional "To Old Times".
Already being mentioned by the NME in the same breath as Ikara Colt, Cooper Temple Clause and their labelmates, Miss Black America, Antihero rolled out on tour in May and June, taking their awesome live set from Edinburgh to the Isle of Wight and most places in-between. Prestigious tour supports with Wilt and Easyworld followed.
A successful 2002 culminated with their Radio 1 session being repeated "by popular demand" and "Rolling Stones T-Shirt " making the top 5 of John Peel's annual Festive 50 (with the b-side "You Got Nothing" also showing at no.37!).
2003 saw John Peel and Steve Lamacq playing their follow-up single "Stravinsky Gave Me Nightmares" , which was also John Kennedy's single of the week on XFM.
After some further time on the road, the boys locked themselves away writing their debut album, which finally saw a release in 2004 on Alphaengineering.
Check out www.antihero.org.uk for further info and full gig listings.
"Emotional but furious guitar-toting tykes." Time Out
"Heroic. What more could you want?" John Peel
"My favourite buzzband right now. We’ll be hearing a lot more from them." Steve Lamacq
"Brilliant." Earcandy
"Antihero are on the brink of doing something really quite brilliant." Drownedinsound
"Absolutely excellent." Online-noise
Plutonik, a stylish Birmingham based 5-piece blending beats, breaks and sinister urban jazz vocals, released their debut album "Prime Numbers" on Integrity Records to massive critical acclaim.
"A debut to rival Tricky's Maxinquaye or Portishead's Dummy" Flipside
"This album positively glistens" Straight No Chaser
"Drives d'n'b into new directions" Future Music
"Real Quality." The Observer
THE JOYLANDERS
Edgy, hook-laden, indie riffage from Midlands based 4-piece whose members and crew went on to form glam-punkstas King Adora.
"The best hard-edged indie guitar pop I'd heard all year" Making Music
"Sneering and sexy…Great" Ribena
"A frightening white-hot intensity" The Beat
THE TRACEYS
Adrenaline-fuelled guitar pop, fusing buzz-saw Gibsons with chiming Rickenbackers. The Byrds meet The Buzzcocks with songs that Stereophonics can only dream of writing.
"Nice one!" iD Magazine
"Unbridled passion for energy and melody" The Beat
DONALD ELSEY'S BIG DECISION
Early incarnation of The Traceys. Enjoyed the patronage of Malcolm McLaren after using a sample of his voice on their vitriolic attack on the music industry, Just Music. Former vocalist/guitarist now in Beach Blanket Bingo.