MUSIQUE BOUTIQUE: Oceanator, The Linda Lindas, Suzi Quatro, Flummox

Welcome to Audiofemme’s record review column, Musique Boutique, written by music journo vet Gillian G. Gaar. The last Monday of each month, Musique Boutique offers a cross-section of noteworthy reissues and new releases guaranteed to perk up your ears.

Brooklyn-based musician Elise Okusami has released her sophomore record as Oceanator, Nothing’s Ever Fine (Polyvinyl Record Co.). The album takes you through the course of a single day, an emotional journey that’s both fraught and reflective. The shimmering guitars of the opening track, “Morning,” hint at the turmoil that lies ahead. But the day gets off to a good start with “The Last Summer,” a fond look back at the bygone days of cruising around with your friends, and “Beach Days (Alive Again),” about the glory of spending time in the sun.

Then reality comes crashing back in the stark “Solar Flares,” as that sun turns into a destructive force (“The lights fade/And the grid fails/The phones are down/No water to be found”). From that point on, tensions rise. “Stuck,” with its crunchy guitars and quiet verse/loud chorus dynamic is reminiscent of ’90s indie rock (think Pixies, Nirvana). “From the Van” is a twisted trip on the road to nowhere, a gnarly mash-up of grunge and Beach Boys harmonies. The bright pop of “Bad Brain Daze” can’t disguise the incessant anxiety that runs through the song like the sound of a clock that’s ticking too loudly. Nightfall brings some solace in “Summer Rain.” But while the closing song, “Evening,” starts out with dulcet tones, it soon escalates into an all-encompassing roar of sound that leaves you with a sense of unease. Nothing’s Ever Fine is an excellent depiction of the uncertainties that might plague you during your waking hours, set to a roiling musical backdrop that demands your attention.

The Linda Lindas were already making a splash. The LA-based band, formed in 2018 by two sisters, their cousin, and a friend (then between the ages of 8 and 13), quickly found themselves opening for Bikini Kill, appearing in Amy Poehler’s movie Moxie, and recording a song for the documentary The Claudia Kishi Club. Then a video of the band performing on May 4, 2021, at a branch of the Los Angeles Public Library went viral, and everything ramped up; by the end of that month they had a record deal with Epitaph.

Now comes their debut album for the label, Growing Up, an invigorating, joyful blast of poppy punk. There are songs about cats, like “Nino,” the savage killer of mice and rats who’s nonetheless the “friendliest cat you’ll meet.” There are songs about racism, including the raging “Racist Sexist Boy,” inspired by a comment made to drummer Mila de la Garza at school, and the similarly themed “Cuántas Veces” (the band’s members are of Asian and Latino heritage). “Talking to Myself” is about the anxiety of being alone during a time of isolation (and also has a great video inspired by a Twilight Zone episode). If “Why” strikes a despairing note (“I just shout and never sing/No one likes it anyway”), the overall vibe is decidedly positive, centered around the group’s empowering credo, “We rebuild what you destroy.” And in the best punk tradition, the album’s running time is just under 30 minutes.

After getting her start in her father’s band, the Art Quatro Trio, and then joining her sister Patti in the Pleasure Seekers, Suzi Quatro moved to the UK in 1971 to pursue a solo career. The hits “Can the Can,” “48 Crash” and “Devil Gate Drive” followed, while in the US she became best known for the song “Stumblin’ In,” a duet with Chris Norman, and recurring role as musician Leather Tuscadero in Happy Days.

She’s since pursued a career in film, theater, and radio, but she never stopped recording, and 7TS Records is now reissuing some of her back catalogue. Up first is Back to the…Spotlight, featuring her first two albums of the 21st century, Back to the Drive (2006) and In the Spotlight (2011), as well as bonus tracks. They’re both albums that take her back to her rock ‘n’ roll roots. On the former, the title track has all the bracing swagger of the best of her ’70s work, the sassy “I Don’t Do Gentle” channels 1950s Elvis, and she powers through a storming cover of “Rockin’ in the Free World.” On In the Spotlight both “Rosie Rose” and Goldfrapp’s “Strict Machine” crackle with innuendo, there’s a rollicking cover of Elvis Presley’s “Hard Headed Woman,” and the best bonus track on the set, a cover of Abba’s “Does Your Mama Know.”

The words “Queer/Transfemme Nashville Prog/Metal band” in the subject heading of the email caught my eye – how can you not want to find out more from that description? Not to mention the “RIYL” tag that included not only Primus and Ween, but also Frank Zappa and Danny Elfman. Thus I discovered Flummox and their latest album, Rephlummoxed (Needlejuice Records).

You don’t have to see the band in performance to know there’s a strong element of theatricality in their work. Alyson Blake Dellinger, the band’s lead vocalist/bassist, says they wanted the track “Pan’s Daughter” (inspired by Arthur Machen’s novella The Great God Pan) “to sound like a horror film,” and the song’s grinding maw of sound, which switches into a pummeling overdrive, then burns out leaving nothing behind but ashes, certainly brings some unsettling imagery to mind.

But not every song sounds like it’s trying to beat you into submission. “Hummingbird Anthem” is something of a country-esque stomper. “Custodian Ralph” has a taut new wave beat underlying an increasingly fractured melody. Then in comes the headbanging power of “The Whispering Banshees,” no holds barred rawk that shakes you down to your shoes. Take a walk on the wild side.

MUSIQUE BOUTIQUE: Make More Noise!, The Neptunas, and L7

Welcome to Audiofemme’s monthly record review column, Musique Boutique, written by music journo vet Gillian G. Gaar. Every fourth Monday, Musique Boutique offers a cross-section of noteworthy reissues and new releases guaranteed to perk up your ears.

The 1970s punk explosion in Britain rewrote the rulebook about who could become a musician. Suddenly, you didn’t have to aspire to be a virtuoso; you simply had to have the desire to create, and the confidence to get your voice out there.

And a fantastic new compilation from Cherry Red, Make More Noise! Women in Independent Music UK 1977-1987 takes a deep dive into the heady era of punk and its immediate aftermath, from a female perspective. Among the 90 acts featured, you’ll find some familiar names, but there are many more less well-known acts, particularly in the US, which makes this set particularly exciting to explore.

Where to start with this bounty? Well, the set opens with X-Ray Spex’s exhilarating “Oh Bondage Up Yours!” It’s an obvious choice for a collection like this, but it’s also a song you can’t hear too many times, a number “as era-defining and as crucial to punk as ‘God Save the Queen,’” as the liner notes put it. Lead singer Poly Styrene is in full battle cry from the off, bolstered by the accompanying off-kilter wailing sax of Lora Logic; its freewheeling exuberance is irresistible. Logic’s “Brute Force” is also featured on the set, a jumpy number that manages to be both edgy and whimsical.

And that’s just for starters. Girlschool stakes out hard rock territory with the propulsive “Take It All Away,” their debut single. Singer-songwriter Kirsty MacColl, best known in the US as Shane McGowan’s foil on the Pogues’ “Fairytale of New York,” turns up twice on Make More Noise; via Tracy Ullman’s sweet pop cover of MacColl’s “They Don’t Know,” and singing her own far more suggestive number, the rollicking “Turn My Motor On.”

In 1992, electronic outfit Opus III had an international hit with the moody “It’s a Fine Day.” But that track was based on the haunting acapella original version released by Jane (Jane Lancaster), in 1983, a sad rumination on lost opportunities. Then there’s the terrifying “The Boiler” by Rhoda Dakar accompanied by the Special AKA. It’s a devastating spoken word piece about rape, made all the more chilling by Dakar’s deadpan delivery throughout most of it. Not for the timid. Dakar was also a member of ska group the Bodysnatchers, whose buoyant “Ruder Than You” is also on the set.

Rip Rip & Panic (featuring a young Neneh Cherry) goes into attack mode in the jazzy “You’re My Kind of Climate.” Vi Subversa of the Poison Girls’ delightfully skewers gender roles in the herky-jerky “Old Tart’s Song.” You’ll also find the Pretenders, Cocteau Twins, Au Pairs, Sinead O’Connor, the Slits, Nico, Lene Lovich, Toyah, Devil’s Dykes, Strawberry Switchblade, and many more. The diversity of styles, both musically and lyrically (ranging from pungent social commentary to dreamy-eyed love songs), on Make More Noise! provides a comprehensive look at this fecund era in indie rock, as it moved from the underground to the mainstream.

The Neptunas, a lo-fi surf guitar trio, launched their career in Los Angeles in the mid-1990s, recording two albums before going on hiatus in 2000. They were gone, but not forgotten, as was proven in 2014 when a reunited Breeders asked if the group was available to open for them on a West Coast tour. Pamita, Leslita, and Laura Bethita Neptuna answered the call, and, following other successful live dates, eventually entered the studio to record their third album, Mermaid A Go Go (Altered State of Reverb Records).

The titles are just as much fun as the music. The snaky instrumentals “Billy The Kid’s Water Pistol,” “Undersea Grand Prix,” and “Nancy Drew’s Wetsuit” are perfect mood music for a twisted Spaghetti Western; one in which the cast wears pastels, perhaps. There’s a good choice of covers too; twangy guitar takes on Herb Alpert’s trumpet line in “The Lonely Bull,” the first hit for Alpert and the Tijuana Brass. And their deadpan delivery of the Kinks’ “Till the End of the Day” makes the tune cool as a cucumber.

The own songs are a hoot too: “Neptuna Car Wash” celebrates the joy of having a clean vehicle; “Hey Jimmy Freek” is a sweet story of unrequited love (though Pamita does seem like she’s a bit of a stalker); the title track refers to the band’s own personal love shack beneath the sea, with a cover charge of only five clams. “We don’t do the Watusi/but we’re doin’ the swim,” they promise. A fun, kitschy confection.

L7 rock hard and they rock loud. They spit out six albums during their initial lifespan (1985-2001), during which time they also founded the pro-choice advocacy group Rock For Choice, and had a great moment on the silver screen in John Waters’ satiric Serial Mom, gleefully thrashing their way through their song “Gas Chamber,” as the killer’s latest victim is set on fire right beside them on stage.

They split in 2001, but resurfaced in 2014; subsequent years have seen tours, a documentary (2016’s L7: Pretend We’re Dead), and a new album (2019’s Scatter the Rats). Their latest release is a reissue, a remastered edition of their sole album for Sub Pop, 1990’s Smell The Magic. It kicks off with the mighty roar of “Shove,” with Suzi Gardner giving the heave-ho to various unsavory types (bill collectors, creeps who pinch you, pesky bosses who want you to comb your hair). There’s a lot going on in L7’s lyrics. “Just Like Me” sends up rock stardom; “Packin’ a Rod” is a pointed depiction of wannabe Dirty Harrys; the slow burning “American Society” sneers at consumerism.

My personal favorite is “Fast and Frightening,” a thunderous number about a charismatic neighborhood hellraiser, with Donita Sparks on lead vocals. Which is the better couplet? “Popping wheelies on her motorbike/Straight girls wish they were dykes” or “Throws M-80s off in the halls/Got so much clit she don’t need no balls”? The choice is yours. Also available on CD or as a download, the reissue marks the first time the album is being made available on vinyl.