With all of the post-Pixies depression, it should be comforting to know that there is still a decent related project, and it doesn’t involve Frank or Kim.
The Major Label machine is bent on scooping up any seductive siren crooning away over ethereal electronic rhythms, but they got more with Stella Katsoudas.
Kevin Spacey is at the top of his game as he portrays a heartless Hollywood big shot who abuses his employees for kicks. Death & The Maiden meets 9-to-5.
Cirrus’ aggressive breakbeat bent and their abundance of vocals should land the trio on mix tapes between The Crystal Method, Prodigy, Junkie XL, and Fluke.
Like Fugazi, Bikini Kill has generated plenty of attention from corporate pimps, but passed it over so they could continue releasing raw, uncompromising punk.
Rather than 242-inspired dance beats and rhythmic noise, this is a collection of haunting electronic ballads, honing in on Maria Azevedo’s enchanting octaves.
As soon as the vocals kicked in, I was transported to a Pacific Northwest Women’s Perspective convention, with Bikini Kill and Sleater-Kinney moderating.
The traditional fast and plunky riffs are meshed with scratchy, yet coherent vocals, creating a question mark as to whether this is a ’98 or an ’88 release.
Insularia intertwines delicate female crooning with gloom-tipped tantalizing string arrangements, calling to mind 4AD and C’est La Mort’s ethereal heydays.