Pitchfork
April 6, 2009
Link
7.2
If the only good reason to overturn apple carts is for the fun of it, how 'bout them apples? Like Athens' Pylon before them, all-grrl Atlanta quartet the Coathangers are making sure the revolution will not be such a drag. On a rough 'n' rowdy self-titled 2007 debut via local label Rob's House Records, they swapped "Suck My Left One" for "Nestle in My Boobies", "Oh Bondage, Up Yours!" for "Shut the Fuck Up", hating Margaret Thatcher for sympathizing with "Tonya Harding". Word is their ramshackle live shows-- alongside the likes of Deerhunter, Black Lips, Jay Reatard, and, next month, Calvin Johnson-- have included loogies and My Little Pony. Cue the premature backlash.
The Coathangers keep the back-alley post-punk party going strong on a scratchy, shrieky, foul-mouthed sophomore album, Scramble, their first for Seattle-based Suicide Squeeze. The call-and-response vocals-- split between guitarist Julia Kugel, drummer Stephanie Luke, keyboard player Candice Jones, and Meredith Franco on bass-- are shrill. The politics aren't, even though technically everything-- from their beyond Fucked Up name to their overall fuck-you we're-not-the-Donnas stance-- is kind of political. Nope, the Coathangers aren't ones to let good intentions stand in for a good time.
As with fellow Georgians the B-52s, their best songs play like should-be novelty hits. The Coathanger with the chirpy Snow White voice sings lead on a couple of the catchiest, including upstairs-neighbor rant "Stop Stomp Stompin'" and unrequited-love-at-first-sight song "143", both of which have enough quotidian sloganeering and goofy-but-true detail for UK shouters Art Brut. Pretty sure it's the same band member who threatens to break our "fucking face" on caterwauling garage-rocker "Gettin' Mad and Pumpin' Iron", too. But the Coathangers can also drop the tempo-- slow dancing with a dude who "ain't no sissy" on "Dreamboat", or missing a boy from outer space on keyboard-driven "Sonic You". There's even one for the olds: "Arthritis Sux". There's even one for tUne-YarDs: sloppy sound-effect collage "Bobby Knows Best".
Put together enough novelty hits, and you have a pretty solid album. If off-kilter percussion can't quite overcome the whispery false ending on "Pussywillow", or "Time Passing" gets a little lost up its own indecipherable sci-fi squall, there's always the scuzzy pink frost of "Toomerhead" (he ain't an asshole, he's just sick), or the get-off-my-back hoarseness of "Bury Me". Particularly given the neanderthal sexual politics of much of the current indie music scene-- looking at you, Brooklyn Vegan comments section-- it's good politics when a girl group can declare, as a deeper-voiced Coathanger does on "Cheap Cheap", "You can just go fuck yourself." It's good entertainment when they can make us pretend they're not talking to us-- and that's probably smarter politics, too. As the Long Blondes once sang, you could have both.
The Coathangers keep the back-alley post-punk party going strong on a scratchy, shrieky, foul-mouthed sophomore album, Scramble, their first for Seattle-based Suicide Squeeze. The call-and-response vocals-- split between guitarist Julia Kugel, drummer Stephanie Luke, keyboard player Candice Jones, and Meredith Franco on bass-- are shrill. The politics aren't, even though technically everything-- from their beyond Fucked Up name to their overall fuck-you we're-not-the-Donnas stance-- is kind of political. Nope, the Coathangers aren't ones to let good intentions stand in for a good time.
As with fellow Georgians the B-52s, their best songs play like should-be novelty hits. The Coathanger with the chirpy Snow White voice sings lead on a couple of the catchiest, including upstairs-neighbor rant "Stop Stomp Stompin'" and unrequited-love-at-first-sight song "143", both of which have enough quotidian sloganeering and goofy-but-true detail for UK shouters Art Brut. Pretty sure it's the same band member who threatens to break our "fucking face" on caterwauling garage-rocker "Gettin' Mad and Pumpin' Iron", too. But the Coathangers can also drop the tempo-- slow dancing with a dude who "ain't no sissy" on "Dreamboat", or missing a boy from outer space on keyboard-driven "Sonic You". There's even one for the olds: "Arthritis Sux". There's even one for tUne-YarDs: sloppy sound-effect collage "Bobby Knows Best".
Put together enough novelty hits, and you have a pretty solid album. If off-kilter percussion can't quite overcome the whispery false ending on "Pussywillow", or "Time Passing" gets a little lost up its own indecipherable sci-fi squall, there's always the scuzzy pink frost of "Toomerhead" (he ain't an asshole, he's just sick), or the get-off-my-back hoarseness of "Bury Me". Particularly given the neanderthal sexual politics of much of the current indie music scene-- looking at you, Brooklyn Vegan comments section-- it's good politics when a girl group can declare, as a deeper-voiced Coathanger does on "Cheap Cheap", "You can just go fuck yourself." It's good entertainment when they can make us pretend they're not talking to us-- and that's probably smarter politics, too. As the Long Blondes once sang, you could have both.
