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Scissor Sisters – Scissor Sisters

Scissor Sisters have created that rare thing; a collection of songs that do not feel out of place in any situation or at any time.



Crikey! 2004 seems to be turning itself rapidly into the international year of irony: first we have the somewhat inexplicable rise of The ‘hilarious’ Darkness, now we have the debut offering from the Scissor Sisters. A cadre of ex-hairdressers, performance artists and general nutcases, mixed up with a big glittery stick inside the enormous melting pot of imagination that is the New York City drag scene. “But Fischerspooner tried the same schtick and failed spectacularly!” some of you might well belch. You would be right in thinking this, but where Fischerspooner tried to politely scale the electrified fence of public indifference, Scissor Sisters take a running leap over it.

I think it’s worth inventing the word merely to describe this album as “gaytacular.” I’m sure the New York- based Scissor Sisters are sick of being defined as a “gay band” but it’s true: The Scissor Sisters, consisting of the two singers Jake Shears and Ana Matronic, guitarist Del Marquis, drummer Paddy Boom and the multitalented Babydaddy are as camp as a row of tents, and they want us to know it. Judging by this wonderful debut album, they also know how to have a hell of a lot of fun. The Scissor Sisters are an 80’s homage to The Darkness’ 80’s parody: However, instead of Whitesnake, codpieces and mullets, the Scissor Sisters obviously long for a time when Wham! were the new hope for music, Duran Duran were more than just a band and those crazy piano-key ties were the big fashion. This means pulsating disco beats, snaking guitar lines, twinkling-stars-above-us synthesizers and some of the finest, smartest pop hooks of the year. Oh yeah.

Debut single “Laura” gets things off to a fine start, with a catchy piano tinkling away in the background as the singer Jake Shears (yes – that is his name) demonstrates why he’s been touted as one of the finest voices in modern pop. It sounds like the bastard daughter of The Coral’s “Dreaming of You” and a piano player in a cowboy film when the good sheriff walks in, and delivers a righteous slice of funk-pop excellence (The song, not the sheriff, though I do know some funky sheriffs). Debut US single “Take Your Mama Out” is an acoustic-y romp about showing the gay lifestyle to one’s mother, and getting her “Jacked up on some cheap champagne.” Sounding like a demented cross between Elton John and Beck, even Bee Gees style falsetto cannot ruin the pop sensibilities that run through this song like an electrical current. You’ve probably heard the single “Comfortably Numb” already, if you attend some of the hipper discos in town. Staunch Pink Floyd fans have been outraged by this strange cover version/remix hybrid, but it is my opinion that the best remixes and cover versions take the original song and whisk it away like Dorothy in a hurricane in a completely different direction. Admit it, how many times have you seen a band in a bar somewhere doing the same old versions of “Another Brick In The Wall’ or ‘Smells Like Teen Spirit” and despaired at the complete lack of imagination involved? Mr. Shears said it himself; “We took a song about downers and heroin and turned it into a song about clubbing and pills” and for this surplus of imagination I, for one, salute this fine band.

Other album highlights include the wonderfully catty “Tits On the Radio” about censorship that includes a chorus you’ll find yourself humming days later; altogether now: “There ain’t no tits on the radio / oh no / there ain’t no tits on the radioooooooo…” “Lovers On The Backseat” is also a sordid little treat, full of odd keyboard noises and sweaty beats- just don’t play it to your mum. “It Can’t Come Quickly Enough” is where the album takes a rapid change in direction- they approach something resembling … big gasp … seriousness. It sounds exactly like the Pet Shop Boys in their flamboyant heyday, and when Shears intones sweetly “Skyscrapers rise between us…” you know exactly what he’s talking about, the poor scamp. Lastly “Return to Oz” is a very Elton John-esque ode about the incredibly disturbing film of the same name. It is a fittingly quiet end to an overwhelmingly fun album.

Scissor Sisters have created that rare thing; a collection of songs that do not feel out of place in any situation or at any time. There’s “Filthy/Gorgeous” for the big nights out and then “Mary” for the morning after; “Music Is The Victim” for when you want to get up and dance and “It Can’t Come Quickly Enough” for when you want to sit in a corner on your own and pout. A wonderful album, one of the best debuts in recent memory and if you have any sense of fun at all you’ll go out and buy it. Whole-heartedly recommended.

(Universal Music)


Like a Hurricane: An Interview with Year of the Fist

Year of the Fist are a much needed short in the arm of rock music. We chat to vocalist/guitarist Squeaky.



Oakland based rock n’ roll band Year of the Fist are the kind of the rock n’ roll band you can’t bring home to meet mom. Evoking the sounds made famous by labels like Sympathy for the Record Industry, Year of the Fist are “a hurricane of swirling rock n’ roll poundage”. Unrelenting and visceral, their music is the unforgiving wave in a sea of safe rock music; a sentiment best exemplified by their brand new full-length album, Revive Me. And like the title itself, Year of the Fist are a much-needed shot of energy; raw, no-frills, and urgent.

We caught up with guitarist and vocalist Squeaky, who, along with the band, have just returned from a short trek through California and Nevada to showcase their new album. We talk about the history of the band, their fantastic new record, Oakland, small-town shows, and rock n’ roll.

Congrats on the new record- reception has been positive to it (we loved it)- how do you all feel?

We are all very happy with the way the album turned out. The last year and a half working on felt like an eternity but it’s done and I am stoked.

How did the writing and recording for the record go? It sounds fantastic- did you self-produce or work with someone in the studio?

The album is self-produced and the recording was a multi-step and studio process.  We were lucky to work in some amazing studios with some terrific engineers.

Do you have a favorite song from the new record? Or maybe one you all love playing live in particular?

I believe I can speak for everyone when I say “Ghosts” is one of our favorites off this album to play live. And speaking for myself, “Red Lights Flash” is another one I really like playing. 

Revive Me is your third full length; what were some of the things you wanted to get done with this record- things maybe you learned from the two LPs prior?

It is actually of 2nd full length. In between the two, we released a 4 song EP.  To be honest, I always have an idea in my head on how I am going to approach something and it never works that way. There is always a curveball, an emotion, a gut feeling that pulls you a different direction. So I am trying to get better at going into something with no direction to be honest ….. we’ll see how that works out.

You are based in Oakland- are you guys all from the area and how did Year of the Fist come together?

Our lead guitarist, Katie, is the only member from the Bay Area. I am from the East Coast. Our drummer, Hal, is from the Mid-West and our bassist, Serge, is from Russia. Hal & I met on tour in different bands, I believe sometime in 2006. He lived in Washington and I was in California. Hal eventually moved down to Oakland and we started YOTF in 2011. We anticipated it being a 2 piece band but after writing the first few songs we knew that wasn’t going to be the case. I knew Katie from playing shows throughout the Bay Area,  so she jumped on board, then skip ahead 8 years, we found our bassist, Serge. We played with several bass players over the years but now I feel we have found our fit. Serge was one of us within minutes of meeting him.

Do you remember what your first experience with rock n’ roll was? Was it a show, something on the radio, a record, or a band?

I was raised in a rock n roll household so I don’t recall a 1st experience, my upbringing was the experience. As far as going to punk shows, I was living in Richmond, VA and I went to my first punk show at 12 or 13. I was immediately drawn to the energy. I was already playing guitar but after seeing a hundred punks packed into a tiny, sweaty club and feeding off the energy coming off the stage I knew I wanted to be the one on the stage.

What makes Oakland a good place for a rock n’ roll band? Is it the venues, the community?

Oakland has its ups and down with good punk venues to be honest. It seems we will have a ton of good rock venues for a few years and then it takes a nosedive for a few years. It’s tricky like that. Oakland is such a diverse city it keeps every band from being full of a bunch of white straight men. It’s a breath of fresh air.

And some of you pull double duty in multiple bands?

We sure do. Hal & I are in a 2 piece rock band called Cut-Rate Druggist while Katie has a solo project that goes by her name, Katie Cash, and a rock/funk band called Skip The Needle. Serge is the only smart one by not burning the candle at both ends.

You played a bunch of shows in July- across California and then to Nevada- what are some of the things you enjoy most about being able to play these songs live?

We just wrapped up that quick 4-day run and it was terrific. There is nothing like seeing people singing the words you wrote, seeing their body move to a particular part in a song that makes your body move the same way, to have someone tell you how much a song means to them. It is so therapeutic. It is the best shrink that I have ever had.

I used to live in Stockton; it was a tough place when I lived there. But it was always exciting to know bands stopped by (when they did)- how important it is to you guys to find new cities and towns to play in each tour?

Really? You lived in Stockton? What a small world!! 

I really enjoy playing smaller cities/towns. The crowd isn’t as jaded as big cities. I don’t mean that as an insult, hell, I am probably one of those jaded people. Living in a big city you can see awesome local and touring bands any day of the week, it gets taken for granted. When you go to a smaller city that has 2, maybe 1 rock show a month, people appreciate that you drove 4-6 hours to get there.

What are the plans for Year of the Fist for the rest of the year and beyond?

We have some light US touring in the fall along with playing FEST in Gainesville, FL. And maybe getting some rest!

Year of the Fist’s new album Revive Me is available now via Heart On Records.

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Pretty Vicious – Beauty of Youth

Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype



Pretty Vicious

The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.

Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.

There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.

You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.

It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.

(Big Machine / John Varvatos Records)

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