“We’ll write a riff, and it’s a sick riff, so it’s guaranteed that the song will be at least interesting to some extent, because you have the sick riff.” – Yvette Young, interviewed
Hey, real quick: I’m in Los Angeles for AWP, provided the FAA still functions enough for my plane to have landed safely. If not, everything goes to Mal and the kid, except my guitars and WIPs, which go to Brendan. Anyway, if we’re all plane crash-free, hit me up. I’m likely at El Cholo or Tacos Por Favor, if I’m not at the book fair.
We’ve done one of these for Black guitarists, and we’ve celebrated AAPI math rock. Let’s listen to some women shred.
Yvette Young
Yes, I’m double-dipping a bit, but in my defense, Covet is a top-eight band for me. Not to mention Yvette’s ability to adapt and evolve while maintaining a signature sound. Covet’s first EP and first record, Currents and efflorescence, are twinkly, delay-and-reverb-heavy water music records. Very cool, but easy for things to sound samey after a while. Their second record, technicolor, is incredibly creative instrumental indie rock. By the time catharsis came out, Covet had a new lineup and some Pixies and dancepop influence. Since that record, Yvette’s done some interesting classical stuff—she also plays piano and violin—proving she’s one of the most interesting, versatile musicians we have working today. Also prompting a second video.
Ana Vidovic
I know I’ve mentioned Ana Vidovic a few times on this blog. It’s been a while, though, so let’s listen to some Ana Vidovic. Every few months, I pull up these videos, and remind myself I need to start practicing classical guitar again. One of these days, I might just drop a classical album on everybody.
Nai Palm
Frontwoman and guitarist for one of the tightest, most interesting bands out there right now, Hiatus Kiayote. Her riffs are often sparse, sometimes percussive, sometimes twinkly, and always interesting. Nai Palm is a front guitarist who lets the band drive the sound and feel of the songs, which is always refreshing. I’ve never seen Hiatus Kiayote live. On recordings, Nai Palm absolutely radiates charisma, but she doesn’t overwhelm. This band is so good.
Gully Boys
Almost double-dipped with Aye Nako, until Brendan put me on to this sick Minneapolis-based band a week or so ago. In this 2021 interview with Alternative Press, they claim to have had no idea how to play their instruments, and the two founding members had the idea to be a band during a closing shift at Ragstock. Well, maybe there’s some wisdom, there, because the playing in Gully Boys’ songs is really interesting, while being grounded in pop and emo and punk. I’m really into them, you should be, too. “Love Me 2” is an absolute banger, but definitely check out their Audiotree set, too.
Carol Kaye
Sure, a bass player. But also maybe the bass player? Bringing up Carol Kaye also gives me an excuse to link to one of my favorite people on YouTube, Julia the joyous German bassist. Julia loves nothing more than grooving on the bass, just watch her face. But we’re talking about Carol, who wrote, like, every goddamn bass line you’ve ever danced to. Carol Kaye was incredible. She started touring in the 50s and was playing on Brian Wilson’s daughter’s record in 1996. Between then, she worked with Quincy Jones, Sinatra, Sam Cooke, the Sanford & Son theme, The Righteous Brothers, The Temptations, and I can’t list everything, I got column inches to think about. Watch Julia’s video.
Then go play some music.
Sorry you got an email,
Chris