Label - Kill Rock Stars
BLURB - Aside from maybe, Fang Island, Marnie Stern may provide for the most frenetic rock release of the year. Her album is jam packed with screaming guitar riffs and intricate drum fills that almost convince you that you're listening to some metal band, and not this tiny girl from New York City. Described as an art-rocker, Marnie Stern's music is an interpretive blend of fast-paced punk and progressive rock that packs a wallop. But, regrettably, the album is a tough listen and is mired in chaos and noise. Few songs have any true hooks and most of the record comes off as loud and monotonous. While the musicianship is actually top notch, the overall accessibility of the album is lacking - but I guess that's art rock for ya?
Rating - 4 out of 10
FULL STORY - The first time I listened to Marnie Stern's album, I was kind of just playing it softly in the background while I was at work. Without putting too much thought into it, I could kind of hear some weird marriage between Best Coast and Sleigh Bells. Obviously this warranted a closer inspection - as that union sounds like musical heaven. But after listening to the album over and over again I kept become less interested. Sure the sound is pretty dynamic and some of those fret-tapping solos Stern rips off are incredible, but there is very little pop appeal. The vocals are more or less just screaming with any sense of tone or pitch.
The opening track, 'For Ash' features some amazing drumming and something of a watered down thrash-metal feel. The song is filled with energy but is extremely difficult to dive into. Much of 'For Ash' is just shouting over repetitive guitar lines that become old and tired well before the song even comes close to ending.
'Nothing Left' again features some outstanding beats as the drummer works in both double kick drums and a barrage of snare fills. The track actually has a decent makeup in that there are several varying sections, bridges and riffs that keep the song interesting and appealing. The lead riff that reappears throughout the track is very catchy and creates a cool, subtle basement party vibe. But for me, even just after listening to only these first two songs closely, the vocals are rubbing me the wrong way. Maybe it's just me, but I can't stand listening to her voice. When she's not shouting, she's pretty much just talking with rhythm...definitely not singing.
'Gimme' and 'Cinco De Mayo' literally sound like the exact the same song with different lyrics. While her guitar playing is impressive and more than tolerable, nothing much else ever appears to happen - creating two back to back songs that have a glaring lack of diversity. With these two tracks there is no direction or flow and the songs suffer, coming off as both stagnant and boring.
I know the whole artsy, noise-rock thing is supposed to be interpretive and nuanced, but I'm finding it's just something I can't get into. The best aspects of Marnie Stern are her musical precision and energy - I've never heard a female guitarist that's this good. But that being said, her persistent stubbornness to only approach her craft from one singular perspective and failure to add at least some sense of versatility and creativeness to her music does nothing but detract from her talent and potential. For you to really enjoy Stern, you have to rid yourself of melody and any commercial expectations you may have. The record is noisy, chaotic and often too much to take in. You may want to give Marnie Stern a listen or two just to see what's going on musically and develop your own opinion, but don't get your hopes up - the album isn't as great as many of the indie critics out there think it is.
Tracks
1.) For Ash
2.) Nothing Left
3.) Transparency is the New Mystery
4.) Risky Biz
5.) Female Guitar Players Are the New Black
6.) Gimme
7.) Cinco De Mayo
8.) Building a Body
9.) Her Confidence
10.) The Things You Notice
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