10/24/2019 Scrawl Bloodsucker Rar
This is a blog featuring all-female bands only. I started this because sometimes it's really hard to find music of all-female bands and I'd decided to share what I've collected so far with others and in this way kind of contribute to the all-female music sceene. The second reason is I want to show that women are into every kind of music, from extreme black metal to electronic and they're not worse than men in making music! In case of any dead links or if you want to reccomend me a band or just for saying hello write me: [email protected] If you're an artist and you don't want me to publish your music, please write me at [email protected].
TrouserPress.com:: Scrawl artist album title keyword SCRAWL Plus, Also, Too (No Other) 1987 (Rough Trade) 1989 He's Drunk (Rough Trade) 1988 Smallmouth (Rough Trade) 1990 Bloodsucker (Feel Good All Over) 1991 (Simple Machines) 1993 Velvet Hammer (Simple Machines) 1993 Travel On, Rider (Elektra) 1996 Nature Film (Elektra) 1998 Before the media-savvy riot grrrls came of age and put a cool name to being young, female and punk, there was nothing intrinsically glamorous or trendy about having the guts to flip the gender script and muck about in the mire of America's indie rock world. Columbus, Ohio's Scrawl, a trio of tough chicks with no specific agenda and far more enthusiasm than skill, began rocking out in 1985 as Skull. Scrawl's first-born, Plus, Also, Too is sloppy, occasionally strident indie-pop. Although her aggressive guitar work is dandy, Marcy Mays' uncertain singing (joined in disharmony by bassist Sue Harshe; drummer Carolyn O'Leary completes the lineup) isn't equally beneficial to Scrawl's rugged melodicism, cutting sidelong through songs rather than moving them along. There's promise in the grooves, but the vocals just don't cut it. (Besides reissuing the album, Rough Trade later stuck, appended, attached Plus, Also, Too on the CD of He's Drunk.) Strings of cryptic fragments serve as the intriguing lyrics on He's Drunk, a more proficient and varied follow-up. The songs are neat (besides their originals, Scrawl demolish and then rebuild the Hombres' garage-rock classic, 'Let It All Hang Out,' and give Felice and Boudleaux Bryant's 'Rocky Top' a politely quiet reading); the instrumental work is generally solid. Microsoft windows server 2012 r2 datacenter 64 bit iso download.
But while Mays and Harshe both show improvement, their voices still don't blend together very well at all. Producer Gary Smith, who worked wonders for the Blake Babies and has done records with Throwing Muses and other neo-pop ensembles, reigned in Scrawl's discordant excesses on Smallmouth, drawing out the sturdy melodies with presentably confident vocals. Tidying up the sound might have removed the jagged corners that make Scrawl invigorating, but the trio (especially Mays' intense guitar strikes) skillfully holds its own, making songs like the tender 'Charles,' 'Tell You What' and 'Time to Come Clean' both bracing and appealing. The sketchy lyrics touch on real-life encounters and personal problems with engaging near-the-surface intimacy; the music is a bit brasher than that but not by much.
While some of the songs are clearly punk-derived ('Rot,' 'Absolute Torture'), the band's '70s rock roots get to showing in 'Charles,' a rewrite of Kiss' 'Beth,' which leaves a message for a lover waiting on a rocker. Mays' sweet piano cover of Eurythmics' bitterly sarcastic 'I Need You' ends the album on a handsome, smartly feminist note. The Scrawl on the seven-song Bloodsucker (issued twice with adjusted artwork) is harder, in both rock edge and emotional stance. Evidently embittered by bad experiences in the record industry (Rough Trade's collapse undoubtedly among their woes) and relationships, Mays and Harshe sing and play with renewed fervor, which works to their advantage in dispirited songs like 'Love's Insecticide,' the depressed 'Please Have Everything' and the powerfully edgy 'Clock Song,' a Gang of Four-like call and response that sets miserable lines ('Don't want to get out of bed.Don't want to look at myself') against an encouraging chorus of 'Go, girl, go!' Scrawl's ripping cover of Cheap Trick's 'High Roller'Āstripped-down and businesslikeĀisn't as good in the execution as the conception, but makes its point all the same. Dana Marshall replaced O'Leary in 1992; the following year, Scrawl recorded Velvet Hammer, a great- sounding modern-rock record (credit uncredited engineer Steve Albini) delivered straight from the jaws of hell.
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'Drunken Fool,' 'Your Mother Wants to Know,' 'Tell Me Now, Boy,' 'Take a Swing' and 'Prize' are only some of the blunt, raw, conversational songs of first-person failings and ruined romance. Singing in an unsure voice that aptly reflects the mood of this poignant and unnerving album, Mays (effectively harmonized, and spelled with little emotional improvement on 'See' and part of 'Remember That Day,' by Harshe) rips herself apart, wishing only for the relief of release: 'I know you're sick of me not acting my age.I want to be strong but I don't put up a fight.All my friends look at me like a stooge, look at me I'm a loser.You ask me not to drink so I passed out in a different bed.I can almost feel myself evaporating.' Hard to enjoy in light of the obvious pain, but a terribly potent bloodletting of misery into art.Ira Robbins See also.
Long before the riot grrrl movement opened the floodgates for the widespread emergence of female artists in the male-dominated world of indie rock, the Columbus, OH-based trio Scrawl carved out their own tough-minded yet feminine niche within the underground community. Formed by singer/guitarist Marcy Mays, bassist Sue Harshe, and drummer Carolyn O'Leary, the group -originally dubbed 'Skull' - debuted in the summer of 1985 by playing a 20-minute opening set for the Meat Puppets; with the financial assistance of friends, they entered the studio to record their debut effort a year later, releasing Plus, Also, Too on the small No Other label in 1987. In the wake of the album's strong reviews, Scrawl toured extensively before signing to the Rough Trade label in 1988. He's Drunk, an assured indie pop effort recorded at Prince's Paisley Park Studio, soon followed, and in 1990, the trio returned with Smallmouth, a more intimate album produced by Gary Smith. Problems with Rough Trade forced Scrawl to depart the label in the autumn of 1990; a few months later, the company declared bankruptcy, and with its demise, the group's back catalog immediately went out of print. The sting of the Rough Trade debacle clearly informed 1991's superb Bloodsucker, recorded with Steve Albini; a biting, bitter record, it too fell prey to industry whims and poor distribution, quickly joining the group's other records in limbo.
Scrawl Bloodsucker
After O'Leary broke ranks, Scrawl mounted the 'Foxcore, My Ass' tour as an acoustic duo, recruiting new drummer Dana Marshall prior to signing with the Simple Machines label for 1993's Velvet Hammer. After jumping to Elektra, Scrawl issued their major-label debut Travel On, Rider in 1996. Nature Film followed two years later. Jason Ankeny.
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