The Dead Betties

It was the late ‘80s when I first heard Sister by Sonic Youth and I fell quickly in love. It was amazing to hear the way they took songs, constructed them into pop rock structures, and then completely twisted those structures into unrecognizable hulks by torturing their guitars into emitting massive amounts of noise. It was simultaneously art, noise and a new way of looking at punk.

My relationship with Sonic Youth continued for a few more years, through a few more albums, (we even got so close that I emblazoned the cover of 1990’s Goo on the back of my leather jacket). Then, we began to drift apart. They began to make music that was more of an artsy jam session, and were no longer churning out brutal blasts of noise. They’re still great, but we’re not as close as we once were. I do still play the albums from that era often, and treasure our time together.

This review isn’t about Sonic Youth, though. It’s about a different New York-based outfit, The Dead Betties. The reason for the brief recollection of my musical past is that the Betties brutalize their instruments into sounds that make it somewhat easy to pretend that Sonic Youth never broke away from their punk phase.

While the Sonic Youth influence is the most blatant, it’s by no means the only era the Betties draw from, keeping them from simply being a SY clone. There are some definite stylings lifted from grungier punk bands (or were they punker grunge bands?) like Bikini Kill and Pussy Galore, and the whole thing is glued together with some hardcore bridgework that smacks of the stringwork of East Bay Ray from the Dead Kennedys (especially on “Tell Me, Tell Me” which sounds like “Holiday In Cambodia” mashed with a bit of My Bloody Valentine and, of course, the ever-present Sonic Youth).

On the top of all this wonderful noise is frontman Joshua Starr, with a voice that can be hopelessly androgynous in a thoroughly glamtastic. It’s the final nail holding these well-crafted art-punk tunes together, and it’s a strong one. He emits a discernible attitude that will sneak out of your speakers and into your brain. This is most apparent on the trashy, bouncy “Demoralizer”, a song that descends into a tranced-up shoegazer tune, only to get handed a savage beat down in the from of blasts of guitar and chord-splitting screaming from Starr. It’s the noise punk should be made.

There are two tracks that I have little use for, the six-minute “Chicago” and the album’s closer “Non-ultra”, but my indifference toward them speaks more about me than about the tracks. They are more like the later Sonic Youth tunes - melodic, transcendent jams that are heavy on style and light on energy. I simply want from the Betties what I want from SY; I know you can play those instruments so enough with the style, I want more noise. Fortunately, on the rest of Nightmare Sequence that’s what the Betties provide.

If you're a big fan of artsy noise punk, by all means pick up this record. Just don't go to your local retailer to do it. Released on Cordless Recordings, Nightmare Sequence is exclusively available digital. As such, you can grab it off of iTunes, Napster or Rhapsody. It's an innovative way of looking at music releases, but one that should bode well for bands that aren't cut and dry stencil-based pop acts, allowing them to generate a following rather than rely on becoming overnight radio stars with massive record sales. - about.com

It was the late ‘80s when I first heard Sister by Sonic Youth and I fell quickly in love. It was amazing to hear the way they took songs, constructed them into pop rock structures, and then completely twisted those structures into unrecognizable hulks by torturing their guitars into emitting massive amounts of noise. It was simultaneously art, noise and a new way of looking at punk.

My relationship with Sonic Youth continued for a few more years, through a few more albums, (we even got so close that I emblazoned the cover of 1990’s Goo on the back of my leather jacket). Then, we began to drift apart. They began to make music that was more of an artsy jam session, and were no longer churning out brutal blasts of noise. They’re still great, but we’re not as close as we once were. I do still play the albums from that era often, and treasure our time together.

This review isn’t about Sonic Youth, though. It’s about a different New York-based outfit, The Dead Betties. The reason for the brief recollection of my musical past is that the Betties brutalize their instruments into sounds that make it somewhat easy to pretend that Sonic Youth never broke away from their punk phase.

While the Sonic Youth influence is the most blatant, it’s by no means the only era the Betties draw from, keeping them from simply being a SY clone. There are some definite stylings lifted from grungier punk bands (or were they punker grunge bands?) like Bikini Kill and Pussy Galore, and the whole thing is glued together with some hardcore bridgework that smacks of the stringwork of East Bay Ray from the Dead Kennedys (especially on “Tell Me, Tell Me” which sounds like “Holiday In Cambodia” mashed with a bit of My Bloody Valentine and, of course, the ever-present Sonic Youth).

On the top of all this wonderful noise is frontman Joshua Starr, with a voice that can be hopelessly androgynous in a thoroughly glamtastic. It’s the final nail holding these well-crafted art-punk tunes together, and it’s a strong one. He emits a discernible attitude that will sneak out of your speakers and into your brain. This is most apparent on the trashy, bouncy “Demoralizer”, a song that descends into a tranced-up shoegazer tune, only to get handed a savage beat down in the from of blasts of guitar and chord-splitting screaming from Starr. It’s the noise punk should be made.

There are two tracks that I have little use for, the six-minute “Chicago” and the album’s closer “Non-ultra”, but my indifference toward them speaks more about me than about the tracks. They are more like the later Sonic Youth tunes - melodic, transcendent jams that are heavy on style and light on energy. I simply want from the Betties what I want from SY; I know you can play those instruments so enough with the style, I want more noise. Fortunately, on the rest of Nightmare Sequence that’s what the Betties provide.

If you're a big fan of artsy noise punk, by all means pick up this record. Just don't go to your local retailer to do it. Released on Cordless Recordings, Nightmare Sequence is exclusively available digital. As such, you can grab it off of iTunes, Napster or Rhapsody. It's an innovative way of looking at music releases, but one that should bode well for bands that aren't cut and dry stencil-based pop acts, allowing them to generate a following rather than rely on becoming overnight radio stars with massive record sales. - about.com

Three guys who sound like, well, three guys playing really loud. Raucous and infused with a certain idiosyncratic indie spirit--if Sleater-Kinney were guys, perhaps, though not quite so incendiary. Good for getting the blood flowing, in any case. - Aiding & Abetting

Three guys who sound like, well, three guys playing really loud. Raucous and infused with a certain idiosyncratic indie spirit--if Sleater-Kinney were guys, perhaps, though not quite so incendiary. Good for getting the blood flowing, in any case. - Aiding & Abetting

The Dead Betties is clearly punk but also more than a little art rock. On their free album F.U.A, You’re in The Army Now, their punk rock credentials are safe with such tracks as “Suspicious Package” and a cover of CCR’s “Fortunate Son”. Yet other tracks stray into a form of collage (the title track and “Message”) or some kind of musical psychodrama (”Slim Fast & Heroin” or “Icee”) resembling East Coast Punk as channeled by Nine Inch Nails or Pere Ubu. All of the nine tracks are fascinating but the last track is the real showpiece. “The Suicide of Britney Spears” is a barrage of sounds and emotions that reminds me of the intensity of Sonic Youth. Artistic and brash, The Dead Betties is a band that is hard to ignore. - Free Albums Galore

The Dead Betties is clearly punk but also more than a little art rock. On their free album F.U.A, You’re in The Army Now, their punk rock credentials are safe with such tracks as “Suspicious Package” and a cover of CCR’s “Fortunate Son”. Yet other tracks stray into a form of collage (the title track and “Message”) or some kind of musical psychodrama (”Slim Fast & Heroin” or “Icee”) resembling East Coast Punk as channeled by Nine Inch Nails or Pere Ubu. All of the nine tracks are fascinating but the last track is the real showpiece. “The Suicide of Britney Spears” is a barrage of sounds and emotions that reminds me of the intensity of Sonic Youth. Artistic and brash, The Dead Betties is a band that is hard to ignore. - Free Albums Galore

Brooklyn noise-punk trio The Dead Betties newest release, titled "Fuck You Avril, You're In The Army Now!", was released in late November. Recorded in their own home studio, "F.U.A..." finds The Dead Betties flipping the bird at pop stardom banality and exploring the sick fascination of idol worship and destruction in popular culture. Also, available for purchase on iTunes is their second full-length "Nightmare Sequence", which was released earlier in 2007 on Cordless/Warner Music. - The Deli Magazine's Open Blog

Brooklyn noise-punk trio The Dead Betties newest release, titled "Fuck You Avril, You're In The Army Now!", was released in late November. Recorded in their own home studio, "F.U.A..." finds The Dead Betties flipping the bird at pop stardom banality and exploring the sick fascination of idol worship and destruction in popular culture. Also, available for purchase on iTunes is their second full-length "Nightmare Sequence", which was released earlier in 2007 on Cordless/Warner Music. - The Deli Magazine's Open Blog

"Every now and then something comes along that is just so weird it works. The last release I remember hearing from these guys was kind of skronky and decent if not all that interesting. This, however, is a significant step forward from that. Nine songs here and not a one sounds like any other on the disc. You get off-kilter, all-over-the-map stabs at post-glam, punk (their cover of Creedence's "Fortunate Son" is impressive), experimental fiddling about, artsy fun with loops of Avril Lavigne trying hard to sound intelligent, synth rock, death rock and, of course, skronk, all delivered with maximum catchiness and enough sense not to take things too seriously. They keep up like this and they may well end up one of the more interesting bands the underground has seen in years." – Jimmy Alvarado, Razorcake - Razorcake

"Every now and then something comes along that is just so weird it works. The last release I remember hearing from these guys was kind of skronky and decent if not all that interesting. This, however, is a significant step forward from that. Nine songs here and not a one sounds like any other on the disc. You get off-kilter, all-over-the-map stabs at post-glam, punk (their cover of Creedence's "Fortunate Son" is impressive), experimental fiddling about, artsy fun with loops of Avril Lavigne trying hard to sound intelligent, synth rock, death rock and, of course, skronk, all delivered with maximum catchiness and enough sense not to take things too seriously. They keep up like this and they may well end up one of the more interesting bands the underground has seen in years." – Jimmy Alvarado, Razorcake - Razorcake

The very fact that “art noise” and “punk” aren’t really thrown around as band descriptives so much these days should be enough to garner at least some initial curiosity about these guys. The natural comparisons to others before them like Sonic Youth and My Bloody Valentine will likely have a hand in attracting a few more listeners. Formed in Brooklyn in 2002, The Dead Betties’ early performances at venues such as CBGB’s earned the band a loyal following in New York City, just as their first EP and headlining gigs at shows including Homo A Go-Go and SXSW betweeen 2004 and 2006 earned them initial critical interest. Now signed to Warner Brothers’ digital imprint, Cordless Records, The Dead Betties offer their second full length LP. Vocal lines of lead singer/bassist Joshua Starr continues to interestingly waver on the line of androgyny, while the heavy drumming of Derek Pippin and guitarist Eric Shepherd alone could earn the band their “intense” reputation. The combination of all three is enough great “noise” to this art certainly. Since this is a digital-only release, you won’t find the album in your local record stores, but a download of album highlight track “Demoralizer” is a must. - Pop Matters

The very fact that “art noise” and “punk” aren’t really thrown around as band descriptives so much these days should be enough to garner at least some initial curiosity about these guys. The natural comparisons to others before them like Sonic Youth and My Bloody Valentine will likely have a hand in attracting a few more listeners. Formed in Brooklyn in 2002, The Dead Betties’ early performances at venues such as CBGB’s earned the band a loyal following in New York City, just as their first EP and headlining gigs at shows including Homo A Go-Go and SXSW betweeen 2004 and 2006 earned them initial critical interest. Now signed to Warner Brothers’ digital imprint, Cordless Records, The Dead Betties offer their second full length LP. Vocal lines of lead singer/bassist Joshua Starr continues to interestingly waver on the line of androgyny, while the heavy drumming of Derek Pippin and guitarist Eric Shepherd alone could earn the band their “intense” reputation. The combination of all three is enough great “noise” to this art certainly. Since this is a digital-only release, you won’t find the album in your local record stores, but a download of album highlight track “Demoralizer” is a must. - Pop Matters

The Dead Betties sound like the music that the hardcore punk rock boys I loved in high school would listen to—dirty, angry, and sexy. The Brooklyn-based trio have been compared favorably to Sonic Youth and Hole, and though they might have a bit in common with those bands, their music still sounds fresh. Summer of ‘93 starts off pretty hardcore with the opener “Laid,“ but gets more and more melodic as the album goes on. The title track is the best song on the album by far, but the bulk of the CD is enjoyable. - The Wig Fits All Heads

The Dead Betties sound like the music that the hardcore punk rock boys I loved in high school would listen to—dirty, angry, and sexy. The Brooklyn-based trio have been compared favorably to Sonic Youth and Hole, and though they might have a bit in common with those bands, their music still sounds fresh. Summer of ‘93 starts off pretty hardcore with the opener “Laid,“ but gets more and more melodic as the album goes on. The title track is the best song on the album by far, but the bulk of the CD is enjoyable. - The Wig Fits All Heads

Three piece The Dead Betties are asserting themselves in the alternative NYC punk scene, and this is a hardened clump of lo-fi grit they're throwing out with Fuck You Avril, You're in the Army Now (FUA). The album does more than leave a stain. It leaves you alone under a street light after a night out partying on an empty stomach when you haven't showered or changed clothes in days.
The music? Imagine a DIY soundtrack for the film Party Monster. FUA's nine tracks go in 3 directions: punk, electronic and alternative. But these disparate songs manage a filmy cohesion. And not just sonically. Lyrically, an inner conflict plays throughout the album; some lyrics condemn the vacuous aspects of modern music; but the remaining lyrics speak of a life of habitual, seedy indulgence - a painful but, arguably, equally shallow existence.

FUA's lo-fi, understated rap song "Cubic Zirconium" rips on popular rap music's inane lyrics. "You're In The Army Now" conjures a reflective and troubled Avril Lavigne calling The Dead Betties to vent. Sounds like a skit but it isn't. And "The Suicide of Britney Spears"...well, you know. But ace track "Icee" and the Clinic-esque "Slim Fast and Herione" deal with addiction. And addiction is what ties it all together.

Besides "Icee", standouts include "Suspicious Package" - an infectious 80's era pop punk song - and CCR cover "Fortunate Son".

FUA is a very good album. The Dead Betties could benefit from more focused recording sessions but, then again, they don't want to lose this raw authenticity. Definitely give this a listen. - Delusions of Adequacy

Three piece The Dead Betties are asserting themselves in the alternative NYC punk scene, and this is a hardened clump of lo-fi grit they're throwing out with Fuck You Avril, You're in the Army Now (FUA). The album does more than leave a stain. It leaves you alone under a street light after a night out partying on an empty stomach when you haven't showered or changed clothes in days.
The music? Imagine a DIY soundtrack for the film Party Monster. FUA's nine tracks go in 3 directions: punk, electronic and alternative. But these disparate songs manage a filmy cohesion. And not just sonically. Lyrically, an inner conflict plays throughout the album; some lyrics condemn the vacuous aspects of modern music; but the remaining lyrics speak of a life of habitual, seedy indulgence - a painful but, arguably, equally shallow existence.

FUA's lo-fi, understated rap song "Cubic Zirconium" rips on popular rap music's inane lyrics. "You're In The Army Now" conjures a reflective and troubled Avril Lavigne calling The Dead Betties to vent. Sounds like a skit but it isn't. And "The Suicide of Britney Spears"...well, you know. But ace track "Icee" and the Clinic-esque "Slim Fast and Herione" deal with addiction. And addiction is what ties it all together.

Besides "Icee", standouts include "Suspicious Package" - an infectious 80's era pop punk song - and CCR cover "Fortunate Son".

FUA is a very good album. The Dead Betties could benefit from more focused recording sessions but, then again, they don't want to lose this raw authenticity. Definitely give this a listen. - Delusions of Adequacy

This New York trio is hard to define in any sense. Musically, they rival the frenzy of bands ranging anywhere from The Subways to The Bad Brains. Their style is a distortion of what you may find in grunge or any near-no wave bands. And over it all, you have a lyricist who’s complex imagery and hybrid metaphors could quite possibly rival that of Cedric Bixler-Zavala from The Mars Volta.

All in all it makes for an intense cacophony of unbridled anguish and sentiment. A mashed up electric sex which makes you go back for seconds and then some.

I caught a show of theirs about a year ago when they stopped for a show in some little house/club in Hollyweird. The club was an interesting experience in itself, being a place of residence as well as a library and club all at once. They even had an old VW bus inside that doubled as a bar. Pretty bad ass.

But more importantly, The Dead Betties put on an amazing show. Even in front of a small crowd of people, some of whom probably never heard of them, they easily captivated the whole of us. I was shaken to the very core by the performance they gave. Total emotion going into their instruments and through the mic, only to have everything end up flying around the stage in a show of passion and art rarely seen so earnest.

This is a band easy to fall in love with, if you ask me. - Jaffa Recommends/queerpunks.com

This New York trio is hard to define in any sense. Musically, they rival the frenzy of bands ranging anywhere from The Subways to The Bad Brains. Their style is a distortion of what you may find in grunge or any near-no wave bands. And over it all, you have a lyricist who’s complex imagery and hybrid metaphors could quite possibly rival that of Cedric Bixler-Zavala from The Mars Volta.

All in all it makes for an intense cacophony of unbridled anguish and sentiment. A mashed up electric sex which makes you go back for seconds and then some.

I caught a show of theirs about a year ago when they stopped for a show in some little house/club in Hollyweird. The club was an interesting experience in itself, being a place of residence as well as a library and club all at once. They even had an old VW bus inside that doubled as a bar. Pretty bad ass.

But more importantly, The Dead Betties put on an amazing show. Even in front of a small crowd of people, some of whom probably never heard of them, they easily captivated the whole of us. I was shaken to the very core by the performance they gave. Total emotion going into their instruments and through the mic, only to have everything end up flying around the stage in a show of passion and art rarely seen so earnest.

This is a band easy to fall in love with, if you ask me. - Jaffa Recommends/queerpunks.com

Opening with a cool, hardcore surf rock intro on "Tuff Shit", which sounds like Dick Dale strangling the lead singer with one of his guitar strings, The Dead Betties go straight for the jugular (pun intended)! "This is My Brain on Drugs" is fueled with an adrenaline rush of punk rock, over a trippy vocal that lends itself to early Jam records. Even with these comparisons, The Dead Betties have created a pioneering sound, including a big handful of ingeniousley derivative single-ready tunes. Updating 60's pop-art rock and 70's glam, the album contains some amazing songs that genuinely get to the heart of the matter, even though they may be talking about fast food, like in "Burger Lust" or "Money Honey," which is all about the Benjamins- punk rock style.The trio of Eric: guitars, Josh: bass, vocals and Derek: drums, even delve into kitschy power pop on "Litterbug." A kicky tune about, well.. being a litter bug! Most of the songs on "This is My Brain on Drugs" have simple, easy to relate to themes, but at the same time their lyrically challanging. Formidable rock 'n' roll guitar-powered, rhythm section heavy, everyone including the listener winds up sharing a good time, with these contagiously loud, pop-rooted, powerhouse punk rock tunes! - Phil Rainone - Pop Vulture

Opening with a cool, hardcore surf rock intro on "Tuff Shit", which sounds like Dick Dale strangling the lead singer with one of his guitar strings, The Dead Betties go straight for the jugular (pun intended)! "This is My Brain on Drugs" is fueled with an adrenaline rush of punk rock, over a trippy vocal that lends itself to early Jam records. Even with these comparisons, The Dead Betties have created a pioneering sound, including a big handful of ingeniousley derivative single-ready tunes. Updating 60's pop-art rock and 70's glam, the album contains some amazing songs that genuinely get to the heart of the matter, even though they may be talking about fast food, like in "Burger Lust" or "Money Honey," which is all about the Benjamins- punk rock style.The trio of Eric: guitars, Josh: bass, vocals and Derek: drums, even delve into kitschy power pop on "Litterbug." A kicky tune about, well.. being a litter bug! Most of the songs on "This is My Brain on Drugs" have simple, easy to relate to themes, but at the same time their lyrically challanging. Formidable rock 'n' roll guitar-powered, rhythm section heavy, everyone including the listener winds up sharing a good time, with these contagiously loud, pop-rooted, powerhouse punk rock tunes! - Phil Rainone - Pop Vulture