Skip to main content

Joanna Gruesome

Summerhall, Edinburgh
Four stars


It's an unintentional piece of synchronicity that Cardiff-sired nouveau-riot grrrl
indie-pop noiseniks Joanna Gruesome have broken cover to release their second
album, Peanut Butter, the sparky follow-up to their 2013 debut, Weird Sister,
just as the other-worldly voice of the chanteuse who inspired their name, Joanna
Newsome, has similarly reappeared on the scene.

With former front-woman Alanna McArdle departing following the recording of Peanut Butter, twin vocalists Kate Stonestreet of Glasgow fem/queer punks Pennycress and Roxy Brennan of Two White
Cranes have stepped into the breach in a way that makes them sound more wilfully
disparate than ever.

The Edinburgh date of JoGrue's inaugural tour in their new six-piece line-up forms part of Summerhall's ongoing Nothing Ever Happens Here
series of shows, and opens with the headliners Fortuna Pop! label-mates and
fellow travellers, The Spook School. Like their forbears, the Edinburgh-based
quartet are a mixed gender combo who wrap up two-minute yarns concerning
twenty-first century sexuality with fifty-seven varieties of androgynous buzzsaw
punk-pop that isn't afraid to get in touch with its feminine side.

Joanna Gruesome are even more contrary, their three guitar frontline bridging the gap
between C86 gonzo thrash and more FX-driven cosmic adventures as Stonestreet's
shouty confrontationalism counterpoints Brennan's sweeter choir-girl warbles.
The effect of all this in a live arena is a gloriously low-attention-span sugar
rush of absorbed ideas which have been cut up, bent out of shape and freshened
up for a new wave of DIY dilettantism. Beyond the fun and frenzy, the music
takes itself seriously even as it makes for a beautiful explosion of pop and
politics designed to have you grinning your way to oblivion.

The Herald, September 25th 2015




ends

Comments

Popular posts from this blog

Ron Butlin - The Sound of My Voice

When Ron Butlin saw a man who’d just asked him the time throw himself under a train on the Paris Metro, it was a turning point in how his 1987 novel, The Sound Of My Voice, would turn out. Twenty years on, Butlin’s tale of suburban family man Morris Magellan’s existential crisis and his subsequent slide into alcoholism is regarded as a lost classic. Prime material, then, for the very intimate stage adaptation which opens in the Citizens Theatre’s tiny Stalls Studio tonight. “I had this friend in London who was an alcoholic,” Butlin recalls. “He would go off to work in the civil service in the morning looking absolutely immaculate. Then at night we’d meet, and he’s get mega-blootered, then go home and continue drinking and end up in a really bad state. I remember staying over one night, and he’d emerge from his room looking immaculate again. There was this huge contrast between what was going on outside and what was going on inside.” We’re sitting in a café on Edinburgh’s south sid

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug