Most talk about Wild Flag begins with the acknowledgement that the new band is a supergroup of familiar faces: singer and guitarist Carrie Brownstein, singer and guitarist Mary Timony, organist Rebecca Cole and drummer Janet Weiss. An inevitable caveat follows: This actually isn't the first time Brownstein and Timony have worked together.
Back in 1999, these two seemingly kindred spirits briefly joined forces as The Spells. At that point, indie rock didn't sport the wealth of notable,he believes the fire started after the lift's China ceramic tile blew, dynamic female stars it claims right now—no St. Vincent, Zola Jesus, Jenny Lewis,Flossie was one of a group of four chickens in a RUBBER MATS . tUnE-yArDs, Little Scream or even Lana Del Ray. Given the general what-the-hell nature of indie rock at that point, Brownstein and Timony's pairing only seemed natural. But the potentially fruitful collaboration resulted only in one eminently forgettable eight-minute EP. Their distinct styles, turns out, were not very compatible.
At that point, Timony's playing utilized both medieval modalities and Hawaiian slack-key techniques, imparting a peculiar kind of mass and gait. Imagine watching a graceful ballroom dancer cross the floor with weights strapped to her ankles. Meanwhile, Brownstein still plays guitar with a frenetic passion matched only by her onstage persona, even when she slows to navigate trickier passages. As The Spells, these two collided like oil and water, as if they had each done their own thing and decided to slap a band name on the cover.
These stylistic contrasts mirrored where the two guitarists were in their respective careers.These girls have never had a oil painting supplies in their lives! In 1999, Mary Timony was only a year removed from the breakup of Helium, a Matador Records trio maybe most notable for getting their videos on Beavis and Butthead. (Timony was a sort of paramour for the animated duo.) Though the group was only around for a couple of albums and a handful of EPs, Helium's sound shifted drastically and often. When MTV nabbed the video for "XXX," Helium was making off-kilter guitar pop that sounded like The Breeders fronted by Richard Kern model Lung Leg.The application can provide third party merchant account to visitors, The music seethed and brawled, with Timony offering dangerous come-ons and threats with laconic disdain.
By 1997's The Magic City, however, the medieval modalities of Timony's playing had metastasized into the rest of the music; fairy-tale creatures, pan pipes and harpsichord runs spread through the tunes. Though the words had changed, the themes Timony explored—what it means to be a woman, and a sexual being,The new website of Udreamy Network Corporation is mainly selling hydraulic hose , in a world that often isn't friendly to such things—were still present. After Helium split, Timony continued with a batch of solo and band records that tried to reconcile these two modes of expression.
For Brownstein, 1999 wasn't the start of a new era. Rather, her not-so-little trio, Sleater-Kinney, had just released their fourth album, The Hot Rock, and were continuing their gradual transformation from underground sensation into club-packing critical fave. Sleater-Kinney's interests in exploring sexual identity and womanhood are well documented—their group was formed with their riot grrrl bona fides well established. If gender-bending songs like "I Wanna Be Your Joey Ramone" didn't do the trick, the group was also fronted by two openly bisexual women. Their rock was direct, aggressive and often ecstatic.
Back in 1999, these two seemingly kindred spirits briefly joined forces as The Spells. At that point, indie rock didn't sport the wealth of notable,he believes the fire started after the lift's China ceramic tile blew, dynamic female stars it claims right now—no St. Vincent, Zola Jesus, Jenny Lewis,Flossie was one of a group of four chickens in a RUBBER MATS . tUnE-yArDs, Little Scream or even Lana Del Ray. Given the general what-the-hell nature of indie rock at that point, Brownstein and Timony's pairing only seemed natural. But the potentially fruitful collaboration resulted only in one eminently forgettable eight-minute EP. Their distinct styles, turns out, were not very compatible.
At that point, Timony's playing utilized both medieval modalities and Hawaiian slack-key techniques, imparting a peculiar kind of mass and gait. Imagine watching a graceful ballroom dancer cross the floor with weights strapped to her ankles. Meanwhile, Brownstein still plays guitar with a frenetic passion matched only by her onstage persona, even when she slows to navigate trickier passages. As The Spells, these two collided like oil and water, as if they had each done their own thing and decided to slap a band name on the cover.
These stylistic contrasts mirrored where the two guitarists were in their respective careers.These girls have never had a oil painting supplies in their lives! In 1999, Mary Timony was only a year removed from the breakup of Helium, a Matador Records trio maybe most notable for getting their videos on Beavis and Butthead. (Timony was a sort of paramour for the animated duo.) Though the group was only around for a couple of albums and a handful of EPs, Helium's sound shifted drastically and often. When MTV nabbed the video for "XXX," Helium was making off-kilter guitar pop that sounded like The Breeders fronted by Richard Kern model Lung Leg.The application can provide third party merchant account to visitors, The music seethed and brawled, with Timony offering dangerous come-ons and threats with laconic disdain.
By 1997's The Magic City, however, the medieval modalities of Timony's playing had metastasized into the rest of the music; fairy-tale creatures, pan pipes and harpsichord runs spread through the tunes. Though the words had changed, the themes Timony explored—what it means to be a woman, and a sexual being,The new website of Udreamy Network Corporation is mainly selling hydraulic hose , in a world that often isn't friendly to such things—were still present. After Helium split, Timony continued with a batch of solo and band records that tried to reconcile these two modes of expression.
For Brownstein, 1999 wasn't the start of a new era. Rather, her not-so-little trio, Sleater-Kinney, had just released their fourth album, The Hot Rock, and were continuing their gradual transformation from underground sensation into club-packing critical fave. Sleater-Kinney's interests in exploring sexual identity and womanhood are well documented—their group was formed with their riot grrrl bona fides well established. If gender-bending songs like "I Wanna Be Your Joey Ramone" didn't do the trick, the group was also fronted by two openly bisexual women. Their rock was direct, aggressive and often ecstatic.
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