The Feminists
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The Feminists

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"The Feminists- "Can't Scream Loud Enough""

I’d never heard, or even heard about, The Feminists before they sent me their third full-length album, “Can’t Scream Loud Enough.” And that’s a shame. The Feminists are cool. Really cool.

The album opener, “The Beginning of the World,” begins as a synth-driven ‘80s rocker and then makes a fascinating right turn into a quieter, acoustic piano ballad. The album continues to surprise on every track. The single, “21st Century Ghost,” is another ‘80s keyboard romp, but the drumming by Mike Zobac is extraordinary, quietly laying back until the opportunity is there to be seized, when Mr. Zobac will suddenly burst out and snatch the spotlight. But only for a moment, and then he seems content to fade into
the ensemble once again. Vocally, there’s some nice harmonies between keyboardist Allyson Mara and lead singer/guitarist
Keith Grief, but Mr. Grief is clearly the star. What he lacks in technical skill he makes up for in passion and unusual choices of pitch and melody, sometimes stepping on a beat a little too late—as if he’s following the music rather than leading it, and often singing slightly above-key. The best example of this is “How to Kill a Country,” the most interesting track on the album and the most unusual pop song I’ve heard in quite some time. It wavers somewhere between Warren Zevon and the kind of 90s alt-jam rock made popular by bands like Jellyfish and School of Fish.

And then there’s “Because Why.” For the life of me, I can’t understand why this wasn’t the single. It’s amazing. It deserves extensive radio play. And your money.

Check it out. - Berkeley Place


"The Feminists- "Can't Scream Loud Enough""

Can’t Scream Loud Enough marks the band’s third full-length effort. Their debut album, Anything You Can Do, dropped in 2004 and their sophomore effort, She Could Be, was released the following year. Proudly labeled as one of the best active Vancouver-based bands by a variety of critics, The Feminists envision their third effort as their most confident and harmonically engaging yet. In somewhat appropriate contrast to their namsake, there is no favoritism shown toward one member in The Feminists. The vocal aspect of the album is largely focused on Grief’s efforts, though Mara adds vital backing vocal contributions that serve as both sweeping hooks and atmospheric elements. Her work on a variety of keys (piano, synths, and organs are a few) also proves to be perhaps the most distinguishing aspect of The Feminists’ wholly engaging sound. Professionally trained in a variety of musical styles, Mara makes her presence known in each of the tracks on Can’t Scream Loud Enough, whether it be her contributions on keys or vocals. In the midst of the things, the rhythm section that comprises of Belland and Zobac proves to be continuously effective throughout the album. Considering the frantic pace that songs like the infectious “The Beginning of the World” can take on, it serves as an impressive accomplishment.

The album’s brilliant opening track, “The Beginning of the World”, takes its dues from energetic ’80s synth-rock, with a pulsating synth leading the way over Grief’s vibrant vocals. “Sometimes the city moves too fast,” Grief proudly proclaims as the album’s first line, serving as nearly a contradiction to the group’s futuristic intentions. The Feminists call themselves a “21st century rock band”, and though their influences of ’80s synth-rock may appear outdated to some, their ability to interweave it with contemporary elements makes the title justifiably appropriate. The newly added strain of a high-pitched synth signifies the chorus for an ardent Grief, just before the song transforms into a lush, piano-laden ballad. With the synth-rock and piano-led pop sections of “The Beginning of the World” serving as two separate entities, Mara serves as an unstoppable instrumental force, tackling both genres with talented proficiency. The song would have benefited by stopping after the ballad’s section, though the concluding synth solo is worth the time for those interested (even if the structural repetition serves little purpose).

“21st Century Ghost” is also led by a mixture of guitars and keys, with Grief’s vocal delivery being more reminiscent to a standard of punk-rock. Though quite catchy, repetition also proves to be its downfall toward its conclusion. Though I would have enjoyed several songs on Can’t Scream Loud Enough more if they contained more variation in place of the structural repetition, there is no denying great moments on tracks like the synth-rock thumper “The Beginning of the World” and the infectious “A Nihilist’s Song”, a song that seems to capitalize on all of the band’s strengths with sparkling keys, dynamically ardent vocals, quick-paced guitars, and a catchy chorus that proves irresistible. The country-tinged ballad “Goodnight, Irene” also translates successfully with Mara’s gentle backing cooing over alluring key-led melodies and acoustical variations serving as a strong point. The Feminists are already planning to release their fourth album in 2008 and, with the quality displayed on Can’t Scream Loud Enough, I am hotly anticipating it. - obscuresound.com


Discography

2004 - Anything You Can Do
2005 - She Could Be
2008 - Can't Scream Loud Enough

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Bio

Based in the verdant jewel of Vancouver, The Feminists are a 21st century rock band. Their distinctive sound is comprised of boy/girl vocal harmonies, fretless bass, the trebly bite of a Rickenbacker, the thick mellowness of piano, organ, and rhodes, a drummer who insists the drums are a melodic instrument, and a few psychedelic synthesizer swooshes thrown in for good measure. Riding the arcing ebbing flowing waves of sheer rock power are the most beautiful, sad, mysterious lyrics; the prettiest melodies you’ve ever heard. This is the band you get when a strong rhythm section meets a great songwriter. Although each member of the rhythm section is an accomplished musician, (Ferdy Belland - bass, Mike Zobac - drums, Allyson Mara - keyboards/vocals) it is when they blend together as a unit to support songwriter Keith Grief (vocals/guitar) that their skills truly become evident. The chemistry that is created when the four of them are playing together is iresistable, their secret weapon that convinces most audiences they are the best band of the night. Certainly they are the band everyone is talking about afterwards, the band everyone wants to hear “one more” from at most of the shows they play. Just because they’re sensitive and have nice melodies doesn’t mean they can’t rock. This band likes to play loud. This band likes to create sonic chaos. They like to walk right out the very edge of what is bearable and at the moment you think they can’t take it any higher or louder, they instantly replace the storm with utter calm.You don’t see that very often these days, a band that is truly exciting to watch, can really play their instruments, and are blessed with good catchy songs. The melodies and lyrics draw you in and anchor the ear. The musicianship and arrangements are what keeps you there. This is a band that can take over your senses and force you to just stop, and listen. For the past few years, The Feminists have toiled diligently in the trenches of indie rock. They have played hundreds of shows with some pretty cool bands (NoMeansNo, The Weakerthans, Tricky Woo, Marianas Trench, You Say Party We Say Die, Immaculate Machine, Junction, Wax Mannequin). They have completed three national tours and three albums. Their songs have charted on radio stations from Victoria to Halifax. They have received considerable national airplay, had their songs placed in movies, appeared on TV, film, and have received enthusiastic reviews of their records and live performances from music writers across Canada. The Feminists recently completed their third full length album. “Can’t Scream Loud Enough” will be released on February 5, 2008. The record has already garnered rave reviews and received national radio airplay.