Three singles that prove riot grrrls are alive and well in 2024

by

As a seasoned gamer with a passion for music that spans decades, I can confidently say that the riot grrrls are still a force to be reckoned with in rock music. With their unapologetic stance and raw talent, they continue to challenge the status quo and pave the way for future generations of female musicians.

For over three decades, the riot grrrls have carved out a significant niche within rock music. Much like any longstanding social movement, it has evolved over time, experiencing periods of rejection and resurrection, criticism and reverence. While its founders may no longer be active, the movement continues to captivate due to its ongoing introspection and self-reflection. This balance between age and self-doubt keeps the riot grrrl movement fascinating.

However, its importance persists as we approach 2024, since female rock and roll performers still encounter misogyny, bias, and stereotyping across all sectors of the music industry. This includes record labels, peers, spectators, and even themselves at times.

Over the last sixty years, significant progress has been made from when the Quatro Sisters debuted with garage rock equal to or surpassing many male bands of the time, yet were unable to secure a record deal. Perhaps they could soften their sound, refine their vocals and lyrics, and achieve pop stardom. However, they could not deliver the raw power of rock music.

Riot grrrls are still a force in rock music

Today, it’s not unusual to find rock bands with women at the helm. Many of these groups are happy simply being top-notch hard rock acts, rather than being labeled or confined by their gender. Some of the most rebellious riot grrrl bands even found themselves needing occasional respite from their feminist crusade. They didn’t wish to be compelled to consistently focus on female empowerment, as it could become repetitive quickly.

But the misogyny and the discrimination and the pigeonholing didn’t vanish, and so the need to speak out about it – or scream out about it – remained. It remains to this day. Let’s check out three recent releases that show where the riot grrrls have gone and the kinds of music they are producing in the Fall of 2024. Because this music, after more than thirty years, remains at the forefront of interesting, powerful rock & roll.

“Tiny Bikini” by Amyl and the Sniffers

Amy Gordon, who’s been leading Amyl and the Sniffers for a decade, shared an unusual approach to lyric-writing on their latest album, “Cartoon Darkness.” Unlike before, she revealed that she typically worked individually following the bandmates setting down various music tracks. In this process, Gordon explained that her bandmates – Declan Mehrtens, Gus Romer, and Bryce Wilson – would play quite loudly, making it necessary for her to raise her voice even more to be audible during joint creation sessions.

On “Cartoon Darkness,” Gordon’s shouting takes on a sharp and insightful tone that reflects the unique position a modern female rocker holds within the music industry today. The record delves into the hurtful remarks she has endured through internet trolls, as expressed in songs like the opening track, “Jerkin’,” and the closing number, “Me and the Girls.

In the “Tiny Bikini” track, I’m making a bold, unapologetic statement about femininity in a gaming world dominated by males. Mehrtens’ gritty guitar riffs and Wilson’s heavy drum beats provide the perfect backdrop for this message. Somehow, Gordon manages to channel her frustration into a lively, catchy tune instead of a serious rant – it’s a fun ride, but with a powerful underlying message.

“Ballistic” by Eville

In Eva Sheldrake’s song “Ballistic,” she expresses her intense emotions through the lines: “This anger inside me is quietly boiling over – This pain I feel is intensely bleeding out – Don’t ask me to fake a smile – I’m on edge, ready to explode and shatter everything.” The male voice introducing the song uses language that may be considered inappropriate.

The song “Ballistic” serves as a contrast to “Blood,” offering a unique perspective on female anger. Compared to “Blood,” “Ballistic” seems intense and melodious. Initially, Sheldrake’s voice echoes in a drone over pounding drums, but soon gives way to a fierce, primal shout, expressing the urge to explode. A torrent of distorted guitar drowns out the feeble male voice that resurfaces weakly at the end. However, even amidst this storm, Sheldrake’s voice remains unyielding.

“Love” by Lambrini Girls

The dynamic duo currently ruling over the realm of bold, aggressive, and rebellious riot grrrl music are Phoebe Lunny and Lilly Macieira. Their debut full-length album, titled “Who Let the Dogs Out“, is scheduled for release in January. The three songs they’ve already shared – “Company Culture,” “Big Dick Energy,” and the freshly unveiled “Love” – each explore the unfair dynamics between men and women from various perspectives. Particularly, “Love” delves into personal relationships, with Lunny emphasizing the cautionary message “True love is nothing more than a misguided reason to give your life for.

Initially, the songs were more focused on criticizing society as a whole. In “Love,” Lambrini Girls challenge the idea of a harmonious relationship, even poking fun at the concept of true love that many girls are brought up believing in. The song ends with Lunny softly singing “I’m so sorry for letting you down.” However, her subsequent loud voice and the band’s continued playing of energetic drums and guitars may imply that she isn’t as remorseful as she seems.

Being a riot grrrl means cutting way back on the apologies.

Read More

2024-11-24 17:00