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- Marnie Stern by Marnie Stern
I'm probably the wrong person to review this. I've not really paid much attention to the work of Marnie Stern in the past. Brett's the big Marnie Stern fan in the office but he's off today so you're stuck with me...soz lads. Anyway, Marnie Stern obviously kicks ass. Her playing technique totally shreds and her voice is both confident and heartfelt. With a grasp on both ballads and full on rock outs Stern pretty much has all bases covered in the whole dynamic, progressive rock field. On this simply S/T titled effort (as opposed to 'This Is It And I Am It And You Are It And So Is That And He Is It And She Is It And It Is It And That Is That') Marnie is joined by long time collaborator Zach Hill (I thought they'd had a proper love bust up but that's obviously been sorted out...water under the bridge down town etc...) as well a Women bassist Matthew Flegal. Now, as I mentioned before I'm not familiar with her other LP's but to me this sounds very much like a mid period Hella record (when they evolved into a full on band as opposed to a two piece) but with better (and cuter) vocals and more consistency from track to track. Much like Hella's records this S/T jobby is a technicolour dream filled with charisma, bustling with confidence and cram packed with banging riffage. She's got serious manual dexterity has this young lady. Total respect.
10/10 John Bloor 21st October 2010
I came to Marnie Stern by first seeing her live, then buying her music. This is an unusual approach for me, I’m rarely moved so much by seeing an artist that I also haven’t already checked out that I immediately walk away with music.
This new Marnie Stern self-title LP kicks off in an anthemic way. Start stop drums and guitar, sweeter vocals than I remember and some interesting textural droning guitar build up and decay. Immediately I sense it’s really beautifully constructed.
Second song, great riff! Great beat and guitar collision going on. Explosive drum hits, and guitar runs. Her vocals sound almost Asian, upper register and in that sing-song manner. I absolutely love the muffled drum hits, they really do sound like cannons. This album reveals a slower, more mature, more considered approach to songs and their construction. In places, the songs break down into quieter passages. The guitar textures and vocals play against one another. And always the machine-gun like drums.
I can’t help but be impressed with the lovely, complex way the songs build from her trademark guitar phrases, this time into far more involving songs. This is excellent stuff. If you liked Marnie Stern before you’ll love this. It makes me feel quite euphoric and liberated in the way only slightly crazy, out of control music can.
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