This May Sound Sexist, But Women Are Just Better Than Men at Rock Music: A Playlist
NOTE: This list is uh not safe for the whole family.
Rock represents (or at least one point did) rebellion, a pushing of boundaries beyond the mainstream. It has consistently expanded, pushing beyond itself when it was the status quo, through its sub-genres: psych-rock, punk, metal, new wave, grunge, emo while at its core remaining the same.
The oppression of women and their treatment is broad and long and does not need to be discussed here–their role in rock music is more the exception than the rule with a select few carrying the torch through a field of men. Even now, a struggle for recognition exists, though more underlying than explicit: women are accepted in rock music, but women are not in rock music. Of course rock music exists strangely today–it’s dominant, but those who dominate radio play are one-hit wonders rather than super stars. Mainstream rock is stale, as a 60 plus year genre should be, but as always there are great bands making great music on the fringes.
Women are making the best rock music right now–there is no question in my mind. There are so many little scrappy bands right now throwing together rock songs fit to be listened to in crowded garages–with short, speedy, belted out jams that are purely delightful. They tell stories akin to those in rock (and especially punk’s) early days, expressions from the fringe, taking angst often birthed from a sexist society (Trump anyone?) and turning into a musical rebellion, sometimes crass, but always creative.
Here is a wide, yet non-comprehensive playlist of what is currently happening–jump on board.
Foremothers (if you will) of sorts to this whole thing, Sleater-Kinney have been making rock jams for a long time. This year saw the release of their eighth album, showing that the group has not missed a beat.
A singer-songwriter who leans toward punk-tinged rock music, Barnett’s specialty is her wit where she is a master at crafting lyrics. Tongue-in-cheek songs about making excuses to get out of going to a party and lawn mowing techniques–she’s very observational, creating stream-of-consciousness songs about what she sees around her and relating it to deeper personal tensions and insecurities.
A Swedish punk band whose name translates to “women with power”, they combine forward moving punk songs with a sort of 80s synth melody. Living up to their name, Maja Milner gets personal about her experiences with men, fighting through them in explicit and passionate ways.
Sounding like they’re coming straight from the garage, Potty Mouth embodies a sort of low-key aggression common amongst most the bands present on this playlist. Their guitars are fuzzy, the lyrics are straightforward, and the songs are catchy without ever getting poppy.
Singer/guitarist Mary Timony has had a long road to the 2014 Ex Hex debut album Rips, as a seminal part of 90s noise pop group Helium and later super group Wild Flag in 2010. The Ex Hex debut was a wonderful rock and roll album filled with quickly paced and very catchy songs. It’s a perfectly capable album that anyone who enjoys guitar driven rock songs could definitely enjoy.
Leaning on a more heavy sound than most of the groups listed here, there are moments on their most recent record Rose Mountain that are shockingly intense. This is lead by Marissa Paternoster’s strong vocals which are powerful enough to knock you back at any moment. The breakdown toward the end of “Burning Car” is pretty epic, reminiscent of those days I was super into metalcore.
Also a group that trends heavier and more serious, Savages burst onto the scene in 2013 with a very anti-technology/social media/distracted youth message. While they lack the sort of tongue-in-cheek attitude of a lot of these groups, they make up for it with the passion of their message, as lead track “Shut Up” shows, Savages are not afraid of confrontation.
Definitely not for the faint of heart, White Lung leans toward the more old school side of hardcore when it comes to punk. These songs are aggressive, filled with quickly paced guitar solos, and pounding drums.
A group that probably rides or dies on the talents of its vocalist, singer Frances Quinlan goes all over the place showcasing a raspy yell backed by a tight backing band. Most of the labeling of Hop Along is as a folk rock group, likely because of the group’s origins (a solo project by Quinlan), but at this point they are definitely a rock band, fitting in quite nicely to the modern day emo revival.
Speedy Ortiz has revived the alt-rock of the 90s, giving it a modern indie rock feel, with definite punk influences. Another group that started as the solo project of its lead singer (Sadie Dupuis) and grew into a full-fledged critically acclaimed rock group (does this lead us into female rock star auteur theory?).
Taking on The Ramones’ at their most surf rock, Tacocat goes full tongue-in-cheek, exploring the female perspective with a full blast of irony. These are perfect beach songs, even if “Crimson Wave” isn’t as pure a surf song as it might seem upon first listen.
Indie pop filtered through a slacker rock aesthetic, from their purposefully misspelled name to their songs about getting married and grappling with the irony of growing into an adult, and Molly Rankin’s voice which always features a wink to it.
Reappropriating a device typically used to inhibit and to censor, Chastity Belt takes it on with a badge of irony, letting their feminism shine through the mores of old. Musically the band very much fits into a punk vein, but does so much more slow and pronounced than typical.
Confrontational to its core (as their name might suggest), they originally started as a fake band for a movie, but now are here to provide the most blatant and in your face group of the bunch. Their debut album clocks in at a brisk 29 minutes–nearly all of which is distorted and screamed.
Childbirth actually features two members from groups listed above (Julia Shapiro of Chastity Belt, Bree McKenna of Tacocat) and takes on the same comic feminism as both of them. Their new album is aptly titled Women’s Rights, is filled with brash lyrics, more obscene than thoughtful reflections about feminism, but punk has always been brash, and Childbirth do it more hilariously than most.