Posts Tagged ‘Screaming Females’

Don Giovanni Records is issuing, for the first time ever, a vinyl release of the 2013 long out of print cassette-only recording “Chalk Tape” by Screaming Females. Pitchfork called the EP “some of the hookiest, most melodic songs Screaming Females have ever recorded” in their original review of the EP. Screaming Females is a three piece rock band from New Brunswick, New Jersey. We have been writing, recording, and touring with one another for 13 years.

Initially released in a limited run of just 100 cassette copies, Chalk Tape was available and sold at only one show (at which it sold out immediately) in 2013, which was the first show back for the band after a six-month hiatus from touring and performing. It has not been available in any physical format since then.

The EP’s genesis came after an extended period of touring inactivity while guitarist/vocalist Marissa Paternoster was recovering from a severe illness. The band worked on the seven songs that would make up Chalk Tape as a writing and collaboration exercise to keep creative energy fresh, following up 2012’s Steve Albini produced 2xLP Ugly.

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Chalk Tape has existed outside the official canon of Screaming Females’ catalogue since its release, though it is a unique document of a band concurrently writing, recording, and performing in real-time and capturing of their songs as they were being created.

This vinyl run of Chalk Tape is now exclusively available for a limited pre-order, and in the spirit of the EP’s initial limited release, will only be available via this pre-order until July 26th. Vinyl pressing time is unpredictable these days but these are projected to ship in late October/early November.

Pitchfork called Chalk Tape “some of the hookiest, most melodic songs Screaming Females have ever recorded” in their original review of the EP.

Initially released in a limited run of just 100 cassette copies, Chalk Tape was available and sold at only one show (at which it sold out immediately) in 2013, which was the first show back for the band after a six-month hiatus from touring and performing. It has not been available in any physical format since then.

Releases November 9th, 2020

This vinyl run of Chalk Tape is now available for a limited pre-order, and in the spirit of the EP’s initial limited release, will only be available to order until July 26th and we are only making as many as pre-ordered. Vinyl pressing time is unpredictable these days but these are projected to ship in late October/early November.

Down Is Up 19: Screaming Females' Live at the Hideout | Pitchfork

Near death experiences make extraordinary records. On their way to recording “Live at the Hideout”, Screaming Females lost control of their van. As they slid backwards down the frozen Interstate, they locked eyes with another driver, headed their way. In a blink, a semi-truck smashed into her minivan. Luckily, everyone survived, and the band made it to Chicago, with a sense of urgency that dominated bedroom-sized venue, The Hideout, for 2 nights of sold out shows.

Unlike a cellphone-uploaded YouTube video, “Live at The Hideout” is a lasting document that asserts Screaming Females as one of the best live bands of our time. To ensure a professional representation of their raw live sound, Screaming Females enlisted engineers, Steve Albini and Timothy Powell—who spent those 2 nights in Powell’s “Metro Mobile” truck (a control room on wheels), which was parked in a snow-covered alley, behind The Hideout.

This album is not simply raucous-sounding versions of old songs; it is an illustration of how 900+ live shows, and the roads in between, can morph songs into something entirely new. Whether it’s a 7-minute improvisation of “Lights Out” (typically a 4-minute track) or, a freak-out during “Boyfriend”—like roaring frontwoman, Marissa Paternoster, crowd surfing with blood running down her chin—the evolution of sound is evident. 9 years in the making, “Live at The Hideout”.

“It All Means Nothing” is from Screaming Females first ever live album, Live At The Hideout, recorded over two nights in Chicago, IL by Steve Albini.

Screaming Females – It All Means Nothing (Live)

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“Singles Too” is a complete collection of Screaming Females’ non-album recordings, gathering the band’s early 7” singles, digital-only b-sides, rarities, and one pretty great remix. The digital version also gathers six cover songs, including the New Jersey trio’s re-works of songs by Neil Young, Taylor Swift, Sheryl Crow, and Patti Smith.

The tracklist — which is arranged chronologically provides a roadmap of the band’s progress through 15+ years, seven albums, and countless tours. “On the first single we ever put out, there were mistakes that I made playing guitar that make me want to crawl in a hole and die,” says guitarist Marissa Paternoster, recalling the sessions for “Arm Over Arm” and “Zoo of Death.” “At the time I didn’t know I was allowed to say, ‘Can I do that again and correct it? I was 19, giving it my all.”

On Singles Too, you can hear Screaming Females lay it down at Milltown, NJ’s post-apocalyptic recording-on-a-budget one-stop, The Hunt tin roof, flammable mixing board, DIY growlab housed in back of Marshall cab and at posh Los Angeles hit-factory, East West Studios, where they convened with members of Garbage to cover “Because the Night.”

The b-sides included here also capture the breadth of the trio’s creativity, with compelling detours and tangents otherwise unrepresented in their catalog — from Sammus and Moor Mother’s re-work of “End of My Bloodline” to the stripped down demo of Rose Mountain’s “Hopeless.” And it doesn’t hurt that Singles Too is also full of hits, even though they’re other people’s hits, though.

Formed in 2005, Screaming Females are Marissa Paternoster (guitar), Mike Abbate (bass), and Jarrett Dougherty (drums). They have released seven full-length albums and toured across the world.

As The New York Times declared in a roundtable of female rockers last summer, “Rock’s Not Dead, It’s Ruled By Women.” And Screaming Females’ latest LP,All At Once, is Exhibit A, a big, burly, joyous, angry guitar-rock record whose feet are as nimble as its shoulders are wide. Bent over her guitar like a determined commuter forging through a blizzard, frontwoman Marissa Paternoster coaxes everything from furious fretwork to booming sludge to mellow surf-rock from her instrument over the course of the 15-song album, tied together by a thought-provoking lyrical through line exploring themes of freedom and oppression. The queen of rock ’n’ roll has announced herself; long may she reign.

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Formed in New Brunswick, NJ in 2005, Screaming Females are Marissa Paternoster (guitar, vox), Mike Abbate (bass), and Jarrett Dougherty (drums). Over six albums and more than a decade of music making, the band has remained deeply individual and steadfastly DIY. They have also grown into one of the most dynamic and devastating touring bands going today.

Marissa Paternoster’s voice is the relentless force and central instrument that drives Screaming Females’ All At Once. Her howling vibrato doesn’t necessarily outshine the fired-up shredding or evocative lyricism. Rather, it makes those elements feel that much grander. The expression “I’ll make you sorry” never sounded as sly and, frankly, believable as it does coming out of Paternoster’s mouth. A sense of restless intensity translates stylistically, too. All At Once is a feverish rock n’ roll album, pieced together with power-pop grooves, punk progressions, indie-rock melodies, and even a hint of ska. But as ever, Paternoster is the star. When she sings, “The sun destroys me,” on “Agnes Martin,” it doesn’t sound hyperbolic; it sounds as if she’s on the verge of melting.

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Out February 23rd, All At Once, is the trio’s most expansive and imaginative work to date — a double LP that swings between surreal miniatures and and solo-heavy sprawl. Concision takes a backseat to experimentation, with arrangements meant to evoke the energy and spontaneity of their live shows. It’s music built across a timeline that’s longer than our internet-enhanced moment typically tolerates and a testament to the band’s dedication and perseverance.

Screaming Females is a three piece rock band from New Brunswick, New Jersey. Who have been writing, recording, and touring with one another for 13 years. AV club puts out a lot of fun covers and these two are no exception. Sure Marissa Paternoster struggles a bit singing ‘If it makes you happy’, but who doesn’t. And a Taylor Swift song is still a Taylor Swift song no matter how much Screamales awesomeness is poured on top of it. But both tracks are very enjoyable! Taylor Swift fans who came here on accident, be prepared to have your brains melted

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Much of Screaming Females’ appeal, and even their greatness, is their esotericism—in particular the impenetrable world of Marissa Paternoster’s hermetic guitar, lyrical poetry and visual art. The New Jersey trio’s seventh studio album, All at Once, veers from that world sharply, collecting some of the most conventionally anthemic and melodic rock songs of their career. The ironic twist is that for this particular group, who made their name on angular, punk-infused freakouts with Paternoster’s fog-horn voice out front, this counts as their experiment, one for which their previous albums, spent developing their own inimitable sound, has well prepared them.

From the album All At Once on Don Giovanni Records.

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Power trio Screaming Females are just ahead of their new album, All At Once, but today they’ve got something else to offer: their contribution to Amazon Music’s Valentine surprisingly fruitful series of original playlists.

For Valentine’s Day, Amazon is updating its twin “Love Me” and “Love Me Not” playlists. We’ve recently heard contributions to “Love Me” from Jay Som and Common Holly plus of Montreal’s entry into “Love Me Not.” For the latter, Screaming Females reimagined “No More I Love You’s,” originally recorded by the Lover Speaks and popularized by Annie Lennox. Their cover is a raw, lo-fi rock rendition of the theatrical pop song, bolstered by Marissa Paternoster’s impassioned vocals  a fitting substitute for Lennox’s signature croon.

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Screaming Females’ new release, “Deeply,” is a restrained and slightly wistful outing for the celebrated New Jersey punk band. The snare that largely marks time in the song cuts in sporadically, giving the track a stark and fractured quality that is similar to the band’s fiercer recent single “Glass House.”

However, “Deeply” never culminates into a mess of distortion or a consistent backbeat. The track comes complete with a video featuring the Females’ lead singer, Marissa Paternoster, spray-painting its lyrics onto a wall. The song, propelled by a droning organ-like sound, encourages the listen to “get high and quiet” and “get high for entry.”

Screaming Females’ new double album, “All at Once”, is out on February 23rd on Don Giovanni Records. The band pressed a 24-copy limited edition 7″ of its first single, “Black Moon,” in September, which was later released digitally.

Screaming Females. The New Jersey DIY-punk luminaries have announced their seventh studio album All At Once, due out next year on February 23rd, on the ever wonderful Don Giovanni Records.

Listen to opening track Glass House which singer/guitarist, Marisa Paternoster describes thus, “It’s very simple — just bass, drums, and two simple riffs. In the past, I might have insisted on adding more. Practicing self-restraint is something I have consciously been trying to do.”

The New Jersey DIY-punk luminaries Screaming Females have announced their seventh studio album All At Once, due out February 23rd, 2018 on Don Giovanni Records.

It will be made available in various formats including Digital, CD, Double-LP vinyl with a Limited Edition 7” and a Deluxe Limited Edition LPx3 with the 7” and an exclusive bonus LP of album demos. The band collaborated with producer Matt Bayles (Pearl Jam, Mastodon), setting out to make an album in the spirit of a salon-style gallery show, where larger pieces provide an eye-level focal point to a galaxy of smaller works. Concision took a back seat to experimentation, with arrangements meant to evoke the energy and spontaneity of their live performances.

Now more than a decade into its existence, Screaming Females can claim something that few of their peers possess in a comparable capacity: experience. “When you’ve been a band for 12 or 13 years, the resources can dry up and you just go back to what feels comfortable,” explains Dougherty. “The other option is that you develop stuff that a younger band would not have been able to do.” All At Once is the evidence of that growth — in its sprawl and scope, but also in its subtleties. “A song like ‘Glass House’ is something we knew we were capable of, but it took a while to fully embrace,” says Paternoster. “It’s very simple — just bass, drums, and two simple riffs. In the past, I might have insisted on adding more. Practicing self-restraint is something I have consciously been trying to do.”