Review Catch Up: Wild Flag

Sleater Kinney's final record The Woods was a slightly schizophrenic listen as it was filled with classic sounding SK songs as well as these off kilter rock monsters - big riffs, heavy fuzz, heavy drama. Since the split and the subsequent release of a solo record by Corin Tucker and now Wild Flag which features Carrie Brownstein and drumming bohemoth Janet Weiss, it's now very evident where that divide came. Tucker's record comes off like a toned down SK record while Wild Flag have returned to the garage to rock the fuck out. Both records are great but Wild Flag has the edge.

In Wild Flag, Brownstein and Weiss are joined by Rebecca Timony (Helium) and Rebecca Cole (The Minders) who seem dedicated to exploring nuggets era garage rock through a post punk sensibility with a bit of psychedelica thrown in for good measure. Seriously, Glass Tambourine gets all White Rabbit on you but it doesn't sound affected, ironic or out of place, it just rocks and allows Weiss embrace her inner Bonham in the freak out finale. First single Romance is less about romantic love than the romance of music and the listener, a theme that seems to run through the album. While Timony and Brownstein trade vocals, the difference is less noticeable than the SK dynamic but Brownstein seems intent on embracing the rockier side of the band. Songs like Boom and Racehorse are all rock n' roll grit and strut and Brownstein plays and sings as if her life depended on it. Given how great Portlandia is, it'd wouldn't be surprising if she didn't return to music at all but it's obvious this is where her heart lies.

For me, SK reached a creative highpoint on One Beat and the messy Woods seemed to highlight internal conflicts in the band (although it featured the phenomenal Entertain - holy shit that song is great). Wild Flag more than makes up for SK's absence which I never thought was possible. This album is a hearfelt fireball of pure rock action and worthy of your attention.



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Love you live...

Inspired by Matt’s recent posts about Hammerbox and Everclear, I started thinking about the best live shows I’ve seen. A great show can be a magical thing and it’s often a combination of elements that coalesce into a cocktail of awesomeness. For me, that list may include:

a) Any band being ‘on’ and playing a devastating show

b) Being at the height of your fandom when you see a gig

c) Seeing a band/artist you’ve loved for years but haven’t had the opportunity to see before (a common occurrence for fans in Australia)

d) Never heard the band/artist before but having that feeling that your life has just being changed.

e) Something special happens that night either on stage or with the venue

f) It ties in with a memorable moment in your life.

For example, my number one gig is Queens on the Songs for the Deaf tour. I don’t think there’s anything as special as standing second row watching your favourite band at the height of their powers play your favourite album while PJ Harvey dances at the side of the stage. Sometimes a show just clicks and it transcends the ages. Anyhow, these are the shows that live large in my memory:

1. Queens of the Stone Age – Metro Theatre, Sydney, 2003

2. Bob Mould – The Zoo, Brisbane, 2002

3. Sleater Kinney - Gaelic Club, Sydney 2002

4. Mogwai – Newtown RSL, Sydney 1999

5. PJ Harvey – Enmore Theatre, Sydney 2001

6. Superchunk – Livid Festival, Brisbane 1994

7. You Am I – Livid Festival, Brisbane 1992

8. Built to Spill – Petersham Bowling Club, Sydney 2008

9. Jesus Lizard – The Globe, Sydney 1998

10. Dirty Three – The Metro, Sydney 1999

All are memorable for different reasons ranging from Superchunk having a terrible gig technically but being all the more entertaining for it to seeing the Dirty Three on a combination of flu tablets and beer and starting to hallucinate to the music. Shows that just miss out are Faith No More (1995), Jawbreaker (1995), Fugazi (1997), Shihad (about 20 times), Mark Eitzel (2008) and Metallica (2010, such a good time). The one thing about all those shows, they all sounded amazing (except Superchunk) so tip your sound woman/man at the door.

Then there are the disappointments such as Radiohead, Ryan Adams, Iron and Wine, Stereolab and Sigur Ros – the main crime being that they were boring or bad. Oh and those fucking gigs I was dragged to being assured me a good time – Steve Malkmus and the oh so pretentious Tortoise. If I wanted to spend the night watching an aloof dude twiddle on his guitar while ignoring the relentless screams for Gold Soundz, I’m sure I could have arranged that at home. Tortoise’s ploy of refusing to play until the room went silent seemed like bullshit to me and then they played their monotonous post-rock to the Wire (magazine) set who were having orgasms at every xylophone solo – dull, dull, dull…

Anyhow, just thinking on it. I don’t get out to shows too often at the moment but of the hundreds of shows I’ve seen, it makes me think of all the enjoyment, nourishment and positivity music has brought to my life. I think we can all agree, music rocks. But also here's hoping my favourite concert event is yet to come...

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The Wash Up: Sleater Kinney

Speaking about Janet Weiss recently got me thinking about has there ever been a more clearly delineated break in a band than Sleater Kinney? Sleater-Kinney were a punk/rock band from Olympia who came out of the riot grrl movement but far exceeded the confines of that limited definition. They are often given that condescending pat on the back, pretty good for a girl band, which is bullshit because they were were one of the great bands of the 90's/00's full stop, regardless of gender. Made up of Weiss and the twin guitar/singing duo of Carrie Brownstein and Corin Tucker, they're one of the fiercest live bands I've seen and made at least six great records (and one less great one).

In 2006, they announced they were going on 'permanent hiatus' which generally means either the band can't stand each other or they can't stand be on tour anymore. The general explanation was that Corin Tucker didn't want to tour with two small children which is fair enough. However, this came off the back of The Woods, an album that was a big stylistic change for the band which ditched the spiky punk of the past for a psyched out fuzzy big rock sound. It wasn't long into the tour for that record that the band announced their impending break.

Some five years later, it's interesting to see how the band has been split into two distinct camps. Corin Tucker released a solo record last year that sounds distinctly like classic Sleater Kinney although somewhat subdued. It features none of the big rock of The Woods and it's a joy to hear Tucker's distinctive voice again after such a long time.


Her bandmates Weiss and Brownstein have undertaken a bunch of projects* but have recently formed Wild Flag with Mary Timony (Helium) and Rebecca Cole (the Minders). The first taste of their music, Glass Tambourine, is all 60's psyche garage rock that refines The Woods aesthetic into a Stooges'esque freak out. It's pretty good actually.
Glass Tambourine by Wild Flag by Timedoor

So while the split is amicable, it seems that the two sides of the trio were heading in different directions musically. If you compare the two songs above and didn't know the major players in each band had played together previously, there is nothing sonically to suggest they ever did. Not that there's anything wrong with that, just an observation. But listening to these bands makes me miss Sleater-Kinney, if only because they frickin' rocked and I met my girlfriend at one of their gigs.

* I wonder if Janet Weiss regrets having a bird on her kick drum in the Entertain video after Brownstein's skit in Portlandia:

Just sayin'.

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