Rapid Review.. Paramore - 'Paramore'

Literally, before last weekend had past, I had barely shot a passing glance towards the new Paramore album. In hindsight, a part of me felt as if Paramore had been locked away when I had turned 20, with their first three albums - All We Know Is Falling, Riot! and Brand New Eyes - being relocated under the 'nostalgia' pile, with the band never aging, or growing up.

However, after seeing various opinions through social media - most supplied via Hayley Williams re-Tweets - I began to grow intrigued upon seeing comments such as 'Paramore has changed, not keen on this album' and 'Paramore has changed - best album yet!'. Wanting to find out for myself, I gave it a listen or three, and found my self somewhat surprised.

Their fourth, self-titled studio album can be viewed as somewhat of a mixed bag; there are definitely some quality Paramore-pop songs tucked in there, many of which I find myself unintentionally humming prior to realisation; I guess that makes me a tad addicted. The first pair of songs are beyond catchy and result in the aforementioned effect, with album opener 'Fast In My Car' going from 'beyond irritating' to 'I want to listen to this noww' in a matter of plays. Speaking of 'now', 'Now' - the first single from the album - is a definite grower, with Williams hitting some rather impressive power notes that I can't help but attempt (and fail) to mimic. At first it felt like common fodder, somewhat lacklustre, but in hindsight it was simply unfamiliar. The first truly mediocre song for me would be 'Grow Up', ironically because it sounds rather juvenile  and possesses a rather underwhelming chorus. It is on 'Daydreaming' that we first begin to feel that we are beginning to venture into some slightly new territory, with the strings on the verses causing them to sparkle, and the instrumental after the bridge has a euphoric edge, however it is again let down by a repetitive chorus.

Now, the first big difference: The Interludes, of which I'm not sure whether to regard positively or with trepidation. The three are short ukelele driven songs with a tinny and retro sounding vocal and, whilst 'Holiday' and 'I'm Not Angry Anymore' are catchy, thought chilled out little ditties, it is 'Moving On' which is the highlight of the trio. Other highlights of the album include 'Ain't It Fun', with it's rather gospel sounding ending and also 'Last Hope', but most irking however, is 'Part II', which is literally a rehash of Paramore's Riot! era song, 'Let The Flames Begin'; it literally has the same lyrics - multiple times, however the later instrumental on the bridge brings to mind Watch Out! era Alexisonfire; a song of multiple exclamation marks, it seems, both good and very bad. 

The band definitely channel the roots of their homeland (Nashville, Tennesee), with songs like 'Hate To See Your Heart Break' and '(One Of Those) Crazy Girls' carrying a country-esque vibe, whilst 'Still Into You' is pure, unabashed POP! - however, it is album closer 'Future' which is most surprising, which deceivingly smoulders for three minutes before hitting us with a crescendo of noise, one which you would never in your wildest imaginings would expect to come from Paramore, it is positively metal in intensity, a symphony of noise that is, oddly, a perfect end to an unexpectedly decent album steeped in pop sentimentality and, if you are willing to take it is for what it is, there is a lot to enjoy there; perhaps Paramore are finally growing up.

http://www.paramore.net/
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Wonder Woman of the Week.. Kathleen Hanna!

Welcome to my new weekly Sunday feature - Wonder Woman of the Week! As previously mentioned in my organisation post, this will be a weekly feature where I choose a woman who inspires me (or has been heavily featured for whatever reason in that week) and discuss them and say what exactly makes them so brill! 


So who should my first woman be.... hmm... how about riot grrrl feminist, Kathleen Hanna!

Founder of riot grrrl band, Bikini Kill, and later electroclash outifit, Le Tigre, Hanna has been a poignant and outspoken feminist voice since the early 1990's. 


She first became interested in feminism when her mother, a housewife, took her to a feminist rally where Gloria Steinham spoke when she was aged nine, which left a lasting impression. She later studied photography at The Evergreen State College in Olympia, Washington, also working as a stripper to support herself. Her exhibits at this time dealt with issues such as sexism and AIDS, although her work was taken down before public viewing by school administrators in the name of censorship, prompting her to create an independent feminist art gallery called Reko Muse. She also did spoken word sexism and domestic violence and volunteered for a domestic abuse organisation.


Bikini Kill was named after a fanzine that members Hanna, Kathi Wilcox, Tobi Vail and Billy Karren created as a response to sexism in the punk rock scene, with the band later writing songs involving such ideals. They released a cassette, EP, split LP with Huggy Bear and two albums - Pussy Whipped and Reject All American before splitting and creating side projects (eg. The Frumpies - minus Hanna, with the addition of Molly Neuman of Bratmobile).


Post Bikini Kill, Hanna started a solo project called Julie Ruin, experimenting with New Wave sounds before later starting political outfit, Le Tigre, who released three albums before becoming inactive.


As someone who is frequently aggravated by sexist comments for sexist comments sake (my guy friends will find themselves quickly shot down), as well as believing in equality, Hanna is certainly an inspiration for me, with herself and her contemporaries challenging a whole scene with their feminist ideals and championing a message that reached new generations across the world. Even now, it continues due to the accessibility of the internet.


Her music is highly catchy, and definitely worth a listen whether you agree with her message or not. 'Decaptacon' by Le Tigre, for example, could easily be the soundtrack to my life, because I am yet to get bored of it! Her image also influences me time and again, as she always looks very put together in with her retro updo's and red lipstick, and wearing prints, tartans. In her Bikini Kill days, she was known to dress as a school girl. Hanna also evidently influenced her friend, Nirvana's Kurt Cobain, famously writing 'Kurt smells like teen spirit' on a wall and subsequently inspiring the name of the perhaps the most iconic Nirvana song!


Anyways, check some of the vids below, and I'm pretty sure we have a well deserving first Wonder Woman of the Week.

Bikini Kill - Rebel Girl

Le Tigre - Decaptacon

Links
http://en.wikipedia.org/wiki/Kathleen_Hanna
http://www.kathleenhanna.com/