OK. Another truth with a smidge of selfloathing (but only a a tiny bit. It’s not really loathing if it’s rooted in truth, right?) – in general, I don’t trust lesbians to make music. I know. A big, bad, broad statement. And yes, you have many holes you can poke into this argument. But look, really look at your music catalog and see how many you can find that make radical, timeless, broadly appealing music. Yeah, it starts to thin out pretty quickly. Add in the constant cader of two bit acts that rely on estrogen anthems and a lilith fair of unshaven legs and you’ve got a crowded market of mediocrity. It doesn’t help that the “queer” market still supports this consistent underachieving (check out the music at a Pride festival, I dare you). All in all, I’ve been tough on the ladies because the ladies haven’t been tough enough on themselves. So it comes to utter surprise that there are a few hardworking gals out there (AND, again, the bay area is playing conduit to all this hard work) that are putting out some decent cuts. Granted, there best track, “Eleven”, takes heavily from the tUnE-yArDs playbook and most of their sound thereafter is pretty standard singer-songwriter fare (there’s that hyphen bearing word again..). Nevertheless, it’s a feat that they can bring such disparate styles together – Thao, rooted in rock and blues, scratchy voice and all; Mirah, all soft edges and introspection – with consistent quality. I think it helps that they seem to be equally comfortable taking the reigns of songwriting duty and differing to each other’s strengths. Most importantly, there is a noticeable lack in pandering lyrical content which is often the most aggravating aspect of queer musicianship. And maybe I’m giving them more credit than is due as I’m dragging their personal life to the forefront. But this album has already stood strong in my collection for over 6 months with no signs of let down.

Eccentricity. What’s not to love?! Sure, anyone can come up with a slightly off hand band name, push further into excess with an even odder presentation of the name, and then a crazy sound to boot. Take this for example. But few can pull this off with ease and grace. And subtlety. I know, not quite what one should expect from an album with “kill” in it. But there it is – choice, intention, space – saddling up to experimentation like they belong. And making a good show of it. Yes, I am spending way too much time to say that this will probably be one of my favorite records of the year. So kill me.

First, and this is a big first, I still struggle with how all of these sounds can come from 1) one person and 2) a woman. Nope, this isn’t a self loathing, sexist statement. Rather, an admission that my preconceived notions of possibility have been shattered by Merrill and her loops. That voice. What is it? Seriously, I had to watch videos of her live performances to prove that it was indeed her and not a dub of some male ’80s singer with an aggressive high range. I’ve never heard that timber from a female singer. Ever. Like never ever. It still takes me a few songs in to realize she covers all of the singing. It’s so…oddly familiar. And yet still disarming. Nevertheless, I like it. A lot. She uses her vocals to affect emotion and power better than most. Then the production takes over. In the same vein of Menomena, she takes her work personally. No need to collaborate when you already have a strong ear. Lots of attention placed on the arrangements – full, lively, and purposeful. Everything in balance without seeming over-thought. The added idiosyncratic touches (an extra blip here, cutting out the instruments to let her vocals wail for a bit, etc.) solidify the bedroom studio feel and endear you ever more. It all sounds so wild – uninhibited, driving, surprising. And replays well. Don’t look now, but I may actually be becoming a fan of Bay Area music. And maybe you will be too…

Anyway, if you have the extra hour, read the entire 5 pages leisurely.

100 Days, 100 Nights, and more than 100 words

Track List of This Is Next Volume 1:

01 Bloc Party – “The Prayer”
02 Yeah Yeah Yeahs – “Cheated Hearts”
03 Sonic Youth – “Do You Believe in Rapture?”
04 The Shins – “Phantom Limb”
05 Spoon – “The Underdog”
06 Bright Eyes – “Four Winds”
07 Cat Power – “Lived in Bars”
08 Neko Case – “Hold On, Hold On”
09 Of Montreal – “Heimdalsgate Like a Promethean Curse”
10 Deerhoof – “The Perfect Me”
11 The Hold Steady – “Chips Ahoy!”
12 Cold War Kids – “Hang Me Up to Dry”
13 Ted Leo and the Pharmacists – “Colleen”
14 M. Ward – “Chinese Translation”
15 Clap Your Hands Say Yeah – “Satan Said Dance”

At first glance, this doesn’t look half bad for a sterile view of mainstream independent tracks. Would have liked to see more females on the list, but I guess girls are only good for a R&B hook to a rap song or high school bubblegum pop i.e. the stuff that actually sells.