Screaming Females Scale Rose Mountain

Robert Menzer for the Village Voice
Screaming Females backstage at the Knitting Factory
Searing New Brunswick trio Screaming Females would really like it if people stopped making a big deal out of their longevity. Yeah, they've been around ten years, and in those ten years they've cemented a reputation as one of the hardest-rocking, most beloved guitar bands in the U.S. And yes, that is an impressive accomplishment for a resolutely DIY group. But as drummer Jarrett Dougherty puts it, "We're not going to commemorate it. We're just going to keep going."

For them, "keep going" means releasing their fifth studio album, Rose Mountain, out February 24 on Don Giovanni Records. Its ten unrelenting tracks represent thirty-five minutes of kinetic intensity, courtesy of singer/guitarist Marissa Paternoster's powerful voice and unmistakable solos, which have become the band's calling card. It's the most ambitious record Screaming Females have ever made, and one that took a grueling journey to release.

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Live: Screaming Females Mix The Classic And The Punk At Bowery Ballroom

Screaming Females w/ Shellshag, Underground Railroad to Candyland, Hilly Eye
Bowery Ballroom
Saturday, October 8

Better than: Going to the gym.

After nearly an hour of playing, the Screaming Females ducked offstage for a minute of rest, a drink of water, and a chance to regroup before the encore that the crowd was stomping, cheering, and hollering for. The New Brunswick natives had just finished "I Don't Mind It," and although the night's energy had finally exploded into some good-natured moshing one song earlier, the tune dissolved the pit by offering a hook—essentially, the title line repeated x4—that the crowd couldn't help but return to their places and sing along.

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This Weekend In New York: The Wake And Weekend Get Rained On But Not Rained Out, Ted Leo And Screaming Females Shine In The Sun


In Waste Of Paint, our writer/artist team of Jamie Peck and Debbie Allen will review goings-on about town in words and images.

Sweaty DIY venues are great, but even Waste Of Paint needs a break from them once in a while. Furthermore, I haven't been leaving my dark cave much lately, and my chalky skin is starting to convince me that maybe I should. It was with all this in mind that Debbie and I set out to spend as much time outdoors as possible this weekend. Luckily, it just so happened that four great bands were booked to play en plain air at the South Street Seaport.

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A Brief, YouTube-Assisted Look At The Greatness Of Screaming Females

"Laura and Marty" (from Castle Talk, 2010)
Tomorrow's 4Knots Music Festival Kickoff at South Street Seaport's Pier 17 has as its opening act the New Brunswick trio Screaming Females, who pulled themselves up from the punk-house basement-show haze to the festival stages of Europe by the sheer force of frontwoman Marissa Paternoster's guitar wail. She's been compared to Hendrix, and that's a fair assessment, for the joy she seems to take in getting you to rethink the electric guitar itself as a medium. Really, though, with the way she moves up and down the fretboard, squeezing every last ounce of juice out of each possible note with something that seems like reckless abandon at first blush but is really closer to clinical precision, she's closer to a punk-rock John Coltrane.

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Ted Leo To Play The Tyranny Of Distance In Full At 4Knots Kickoff Show

Ted Leo and the Pharmacists' set at the 4Knots Music Festival kickoff show—taking place July 9 at Pier 17 on the South Street Seaport with openers Screaming Females—will have the band playing their 2001 album The Tyranny Of Distance in its entirety. But don't expect a big "remember the '00s"-fest to ensue; Ted says, "This is not a big nostalgia trip! We're not doing it to place [Tyranny] in some sort of 'classic albums" necropolis! We've been mostly on tour for the entire ten years since this album came out, and rarely has a night gone by that we haven't played at least a few songs from it—it's as alive to us now as it was when it was first released! We (or 'I') have never 'broken up' and moved on to other things, so we're not getting back together to celebrate 'what was'—this is and always has been our life, and we're celebrating a milestone in that life!" There's more on the topic at his site, in a post that will, he says, be amended throughout the week; above, footage of the band playing that album's "Stove By A Whale" during the Great Blackout Show Of 2003. And for more 4Knots information, head right this way.

Screaming Females To Open For Ted Leo At 4Knots Kickoff Show

The kickoff party for the 4Knots Music Festival—a prelude to July 16's big fest, headlined by Ted Leo and the Pharmacists—takes place at South Street Seaport's Pier 17 on July 9, and is it going to start off with a bang: Opening the show will be shred-happy New Brunswick trio Screaming Females, whose sheer greatness has been chronicled in this space before. Above, the video for "Laura & Marty" from their stellar 2010 album Castle Talk; the full rundown of 4Knots-related events below.

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Live: JEFF The Brotherhood Smoke Out Santos, Screaming Females Wail, Snarl, Continue To Be Badass

all photos by Rebecca Smeyne
The boys are back in town

JEFF the Brotherhood
Screaming Females
Thursday, March 31
Santos Party House

Last night at Santos, Nashville's JEFF the Brotherhood reunited with frequent New York (via New Jersey) bill-mates Screaming Females. In April 2009, the two bands put out a split seven-inch together and started to gain attention (and not just from Ted Leo's endless stumping). Since then, both have steadily spread the gospel of their live shows, JEFF especially--according to their agent's website, the band "clocked in over 230 shows in the past year"--and are about to spend a month on the road with the Greenhornes (a/k/a two-thirds of the Raconteurs). JEFF is also playing Death by Audio in Brooklyn this Saturday, with Heavy Cream, X-Ray Eyeballs and yet another new band with the word "beach" in its name.

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Top 10 "Live At Shea Stadium" Bootlegs, Starring Screaming Females, Teeth Mountain, And The So So Glos

Whatever show this was, it didn't make the list, remarkably. Pic by Rebecca Smeyne.
Shea Stadium has been one of Brooklyn's finer DIY-type venues since opening in April 2009 -- after a quick move from Debevoise Avenue over to its current home at 20 Meadow Street (neighbor issues, alas), the spot has hosted hundreds of oft-chaotic rock shows that now live on as high-quality bootlegs in the fantastic Live at Shea Stadium archive overseen by venue owner/founder/soundman Adam Reich. "Recording (and eventually releasing the shows) was the original concept behind starting the space in the first place," he explains. "At first I was thinking about opening a more traditional studio, but I wanted to do something different with it. Something a little more exciting and interactive." And daunting, too -- it's tough to know where to start. So we asked Reich to pick his 10 favorites; after struggling with it a bit ("it's like picking your favorite child!), here's what he came up with.

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2010: The Year In Music Photos

The year in music, circa 2010, started at the Cake Shop, with a shred-down to the New Year courtesy of Siren Festival MVP-to-be Marissa Paternoster and her band Screaming Females. After a tour through the NYE fetes of the Lower East Side and Williamsburg, that night ended amidst a marathon show at Bushwick's Shea Stadium, right around the time the Blastoids' drummer poured paint on his kit and started splattering away.

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Was 2010 The Best Year For Music Ever? Bowling With Titus Andronicus and the Joy of the Work

Welcome to Sound of the City's year-in-review rock-critic roundtable, an amiable ongoing conversation between five prominent Voice critics: Rob Harvilla, Zach Baron, Sean Fennessey, Maura Johnston, and Rich Juzwiak. We'll be here all week!

Please, this holiday season, spare a thought for these millionaires.
King Kong, Loch Ness, Goblin, and Ghoul,

I'm a zombie with no conscience. But if this trip 'round the mulberry bush has got me thinking about anything, it's evangelizing. We all champion the artists that feel precious and reject everyone else's narrative. Rich positioned the much-hyped Robyn as the invalid child of the dance-pop elité, propped up as a paragon of fortitude and invention, before doing the deep-dig on some great dance music I'd not heard at all this year. Zach crawled into the depths of his youth to make Superchunk the cool Aunt and Uncle of the game, the kind who let you smoke and watch R-rated movies when you slept over their house. Maura made the last-minute battle cry for R. Kelly, a conflicting but righteous choice, while closing the book (for good?) on the American Idol Generation. Rob repped for Robyn in the face of dismissal, defied me (!) on Taylor Swift, found evenhanded things to say about the hegemony of Arcade Fire, but ultimately couldn't even muster a joke about the Black Eyed Peas. And then there is Zach's reminiscence on a moment we shared in my living room (you're all invited to come and see the weird mirrors some time soon) that involved Pusha T and Kanye West. During a VMA live chat with Ryan Dombal for this very blog, I wrote, quickly, after the performance, "Feels really good to see the two rappers I've been most invested in for the last 10 years closing the VMAs. Frivolous, but weirdly important."

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