Bitchcock / LeSabre interview

Intuitive, obstinate, titillating, energetic, deadly melodic guitar-driven alternative rock with a raw, freaky edge. That’s Bitchcock in the words of Annemiek van Grondel, one of its founders, who talked to Metaladies.com about her band.

Listen to Bitchcock while reading the interview:

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Bitchcock stayed in the business for fifteen years. Do you think you really have finished what you started in 1990? Did you reach the expectations you had at the beginning?
The expectations were not as high when we started out in 1990. In the years we played, we did not only concerts in the Netherlands, but also in Switzerland (more than once), Austria and Germany. We never expected to be very famous, so the fact that this indeed did not happen was be taken into account and not at all disappointing. We had a lot of fun, and that counts.

Do you regret of something happened to the band, of a bad decision, of something that now from the distance you know it would have helped the band to continue in a successful path?
The only thing I regret is that we did not have the persistence to release our last album.

Being an all-female band was a concept to keep since the beginning. Why were you willing to form an all-female band?
Female bonding is something we thought was an attractive idea. We wanted to proof that guys were not needed to make good music. But to be honest, we had some guys in the band, on and off: we played in the beginning with a male solo-guitar player and the drum recordings of The Birds are done by a male drummer, who left the band quite soon because of a lack of chemistry. Sam Ford followed in his footsteps and the chemistry with her was a proven fact. And she played very, very well. In the end, after solo-guitarist Yolande and drummer Sam left, Ly and I for a short while worked with Abel and Yohan (both guitar) and Sandrijn (drums), but the dawning of the end of LeSabre was then already clear.

Let’s make a short trip through your history. Everything started when you and Elisabeth started rehearsing in the summer of 1990. But it was not until seven years later that you had a solid lineup, and made important gigs. What happened during this seven “dark” years?
In the Dark Age we had a lot of fun, struggled in the rehearsal room, tried out our first songs with no strings attached, ‘abused’ a lot of musicians, from which bass player Ly really turned out to be a consistent band member, did our first gig in 1993, played some local venues and festivals and did not take the music life too seriously.

Talking about gig highlights, you were touring through Netherlands, Switzerland, Germany and Austria, together with Hole or Babes in Toyland. This were great years for all-female rock bands (let’s add L7). What do you recall from this days and tours?
Magic! It was a great opportunity to be in bigger venues, like the Melkweg, and touring on the road with four girls was both stressy and hilarious. One of our last big gigs, as a support band in two big Dutch venues in Holland (Melkweg Max, Amsterdam and Het Paard in The Hague, both sold out) was for Rockbitch, the nude girl band with explicit sexual content. At first Rockbitch were suspicious of us, thinking we adapted our name to theirs, but as soon as they found out we were called Bitchcock for years, and also could actually ‘play’, they spontaneously doubled our meager fee, taken from their own income. The next gig in The Hague was a couple of days later, and we surprised them in the dressing room with a big cake, appropriately covered with the word ‘EAT ME’ in whipped cream on it. Ofcourse we played with our cloths on and were only eating the pie with them.

You played successful gigs in front of 6500 and few months later in front of 5 people. How did this affect the band, feeling like in the top of popularity and later like completely unknown?
That was more a matter of speaking. Don’t take success too seriously, has always been our motto.

Talking in terms of popularity. How popular do you were back then, in Netherlands and Europe? Did you get media attention?
We got reviews for our albums, were played a couple of times on national radio, did some radio interviews in Switzerland and that was it. O yes, and we won Spin/GeoCities internet competition for best unsigned band, but didn’t know at first; then had to threaten to ‘sue GeoCities’ ass’ before eventually receiving our prize. We had some loyal fans who attended our shows, but no fanclub. And unfortunately no fanzine. This was in the days before MySpace, and we lazy bitches were not really standing in the nerd frontlines concerning a website of our own.

About the reviews, the ones written for “The Birds”, your first LP, where very good. Tell us a bit about this album, its recording and selling numbers.
We recorded it in about one or two weeks, in De Boventoon, a popular studio in Amsterdam. A local record company was willing to release it, but it was not very professional. The review copies were sent to the newspapers and music mags about two months before the album reached the stores. The reviews were almost all very good, I recall a review in de Volkskrant, one of our biggest national newspapers, that was raving and made us blissfully fly for days. But when the album finally was in the record stores, I guess people may have forgotten about it. The sellings were not so good, I am afraid. We haven’t received a penny for it.

And about the style. Your sound was very professional and skilled, and had your own original trademark. There were the alternative component, the rock riffs, the melodic voice and catchy chorus. How would you define your music?
Intuitive, obstinate, titillating, energetic, deadly melodic guitar-driven alternative rock with a raw, freaky edge.

After the release of “The Birds”, you changed your name to LeSabre. Why this change and why that radical?
Some people confused us with Rockbitch (see above), other people thought our name was childish and perhaps offensive. Because our drummer Sam Ford was a huge car freak, she came up with the name, and after we had seen LeSabre cars (the oldtimers, of course!) we were totally convinced.

And with the name change they came the problems. You recorded one LP, “The Devil Is A Woman”, that never saw the light. What happened with this record? Was it finally released? If not, what are we missing?
Like I said, we were not persistent enough, and did not have a big distribution network nor a record company that was willing to release it. So we lost quite some money on the recording. The fact that Yolande left the band was also not helpful. I think it is a shame, because I consider the songs on The Devil Is A Woman to be our best.

Yolande left the band, and Abel Cañizales came in. A male incursion in the band. Was it an easy decision to leave the all-female formation, or there was no way to find another female musician?
He was not the first man into the band, but he was a damn good guitar player. Also Yohan (guitar) and Sandrijn (drums) entered the scene at some point. We only did one gig with them, by the way. We left the idea of a female group in order to make LeSabre an even better band. But due to some reasons and a constant lack of time and other interests (Ly became a mum, for instance) we decided to call it a day after a while.

Which are the whereabouts of Bitchcock components nowadays? Do you still meet the girls? Is there any reunion possibility?
No, there will not be a music reunion. Sometimes we see each other to talk about the good old days and drink lots of wine and whisky. Liesbeth is still my best friend who I see at least once a week. I make music now with four guys in Superspade, which play on a not too serious basis in venues (like the Melkweg) and Liesbeth made a successful underground career as Solex (which at one point was signed to the Matador label in New York and got some good radio support of the late John Peel). Ly is also still making music in a non-female band.

Tell the readers why Bitchcock is a band worth to give an opportunity.
Bitchcock/LeSabre are not playing anymore but are mentally supporting all rock ‘n’ roll girls worldwide who are thinking of gathering their strengths musically. Making music together is so much fun! It has nothing to do with being famous or getting groupies, although some extra attention is always worthwhile. It is all about the Ecstasy of Electrifying Energy. You go girls!!

Read more about Bitchcock / LeSabre

Mab

Mab born in Sardinia, Italy, from Psycho Jeremy (bass and vocals) and Jecky (drums). Created as an all-female band since the beginning, it’s been a rule never broken even they suffered some lineup changes. They moved to London and started playing in small venues, that became bigger as did they popularity.

Country: Italy/UK
History: 1996 – Present
Status: Active
Style: Alternative Metal

Biography:
Mab born in Sardinia, Italy, from Psycho Jeremy (bass and vocals) and Jecky (drums).

Created as an all-female band since the beginning, it’s been a rule never broken even they suffered some lineup changes. They moved to London and started playing in small venues, that became bigger as did they popularity. Their hard work led them to open for Him at the Hammersmith Apollo in 2004.

Mab toured the UK with Breed 77, before going back to Italy to record a tribute song to a remarkable italian singer and artist called Giuni Russo.

The next big step for the band was to collaborate with Franco Battiato, singing 3 songs recorded at the Olympic Studios in London, and one for his movie “Niente e’ come sembra” (2007) which also sees MAB taking part as actresses.

After this Mab had a huge exposure in Italy; they in fact took part as guests together with F.Battiato to the greatest Italian Music event broadcasted worldwide called “Sanremo”, many other TV performances and finally a 2 months long Summer Tour in Italy followed by a Winter Tour in the most beautiful theatres in Italy and Spain.

Mab performed also at the Heineken Jamming Festival and played a special gig in honour of film Icon David Lynch after his conference about Transcendental Meditation that took place in Palermo in 2007.

After a short hiatus, Mab turned back to the stages with a new lineup, and passing from a quartet formation to a trio, keeping the Psycho Jeremy/Jecky core and addind new guitarist Elisa.

Lineup:
Alice “Psycho Jeremy” Dionis – Bass, vocals
Jecky Stella – Drums
Elisa Pisetta – Guitar

Former members:
Lisa Masia – Guitar
Marina Cristofalo – Guitar

Discography:
2007, “Decay” (EP)

Related links:
MAB @ Myspace

Videos
 
 

Diamond Beast

Diamond Beast is the first all female Iron Maiden tribute in Europe. It was born on may 2008 with the purpose of having fun playing in a personal key the great songs of the most famous Heavy Metal Band.

Country: Italy
History: 2008 – Present
Status: Active
Style: Tribute to Iron Maiden / Heavy Metal

Biography:
Diamond Beast is the first all female Iron Maiden tribute in Europe. It was born on may 2008 with the purpose of having fun playing in a personal key the great songs of the most famous Heavy Metal Band.

After one year of some changes, the line up has been completed with
Angie Prati on vocals, Elisa Garbo and Elisabetta Filippini on guitars, Laura Mattiuzzo on bass and Sara Tenaglia on drums.

On October 2010, just before the first little tour out of Italy, Verdiana
Gariboldi replaced Sara on drums, and she joined officially the band starting from November 2010. Elisabetta Filippini left the band, to be replaced by Anna Greta Giannotti on November 2011.

Lineup:
Angie Prati – Vocals
Elisa Garbo – Guitar
Anna Greta Giannotti – Guitar
Laura Mattiuzzo – Bass
Verdiana V Gariboldi – Drums

Former members:
Sara Tenaglia – Drums
Elisabetta Filippini – Guitar

Related links:
Diamond Beast @ Myspace
Diamond Beast @ Facebook
Diamond Beast @ YouTube

Videos:

 

Dormitory Effect

Susan Wendelken and Urith Myre had already met at late nineties in a New York-based band called One Step Beyond. After parting ways they decided to contact the guitarist from Perseverance, Meredith Hermann, and Neutron Cafe’s drummer, “Gee” (Gina Ilasi) and Dormitory Effect was born.

Country: Unites States
History: 2004 – Present
Status: Active
Style: Heavy Metal

Biography:
Susan Wendelken and Urith Myre had already met at late nineties in a New York-based band called One Step Beyond. After parting ways they decided to contact the guitarist from the hardcore act Perseverance, Meredith Hermann, and Neutron Cafe’s drummer, “Gee” (Gina Ilasi) to form a cover band. Meredith contributed to the jams with songs discarded by her former band, which ended up becoming the first songs with the Dormitory Effect’s seal.

Gradually the original creations were displacing the covers, to finally have enough material to record a CD, “Wealth Of The Disease”. After its release they entered into a self-promotion, gigs and mixed events vortex. Without even realising it, it came 2007 without new songs to feed their music.

They forced themselves to compose, and soon their new creatures were born, “RJ”, “Hand That Feeds”, “To Belong” and “The Star You Are”. These songs bring a more aggressive touch to their alternative metal, to bring it closer to thrash, and they are working to release them in a CD very soon.

Lineup:
Susan Wendelken – Vocals
Meredith Hermann – Guitar
Urith Myree – Bass
“Gee” Gina Ilasi – Drums

Discography:
2005, “Wealth Of The Disease” (EP)

Related links:
Dormitory Effect official
Dormitory Effect @ Myspace

Videos
 
 

Atomic Blonde

Originally called Glass Lily, this Nashville quartet practices a commercial hard rock with quality. Their instrumental power, with some flash of sweetened garage/punk, is counterbalanced by the melodic and sometimes sensual voice of Dacia.

Country: Unites States
History: 2004 – Present
Status: Active
Style: Hard Rock

Biography:
Originally called Glass Lily, this Nashville quartet practices a commercial (in a good sense) hard rock with quality. Their instrumental power, with some flash of sweetened garage/punk, is counterbalanced by the melodic and sometimes sensual voice of Dacia. This contrast is clearly reflected in their name.

2005 winner of a competition between 12.000 bands, Atomic Blonde have appeared in publications like Metal Edge or Rolling Stone. They have also taken advantage of the resources offered by the Internet, and climbed to second place in the Myspace charts. An appearance in a promotional video clip for the contest “The Next Great American Band” (Fox) has given them some popularity, which pushed them to record their first and self titled album.

Lineup:
Dacia – Vocals, guitar
Kendra Kayne – Drums
Danielle Day – Bass
Fran Reed – Guitar

Former members:
Amber – Guitar

Discography:
2008, “Atomic Blonde” (LP)

Related links:
Atomic Blonde interview @ Metaladies.com
Atomic Blonde official
Atomic Blonde @ Myspace

Videos
 

Deimos interview

Deimos was the first all-female death metal band coming out from Turkey. They splitted in 1998, and now we remember this trio interviewing its component I??k Evirgen

Listen to Deimos while reading the interview:

Deimos was born in 1996. How did it all start, were you the first all-female death metal band in Turkey?
Everything started within our friendship. I was 15 years old and Seda was 16. We wanted to make music because we couldn’t go on as listeners only. We had a brutal force inside us and we had to do something. Yes we were the first all-female death metal band in Turkey. There were other female bands like Ebonside (black) and Volvox (rock).

Just from the beginning you started touring. Did you have enough own material to complete a set list? Did you complete it with any cover?
Actually we have made 8 tracks in 6 months and 2 SFU covers. Then we started performing.

Talking about your own material, was it finally released? Is there any way nowadays we can access to your music?
No, we have never made any recordings. Our previous vocalist had full concert videos but I have never reached them since then:-) Now we have just 2 short and low quality videos in YouTube but that’s all.

As seen in some of your videos, your music was pure and raw death metals with a grind touch. Is there any more specific way to describe your music?
As I said we were a performing band and we can describe our music with 2 words: Basic and impulsive.

You sang while playing drums, and you did both so aggressively. Had you ever thought of acquiring a vocalist to fully concentrate on drumming? Or you really are enjoying making both jobs onstage.
Actually we weren’t a trio at the beginning. We had another vocalist but she had a scream vocal and we didn’t want it. I started singing while I play. It wasn’t much difficult for me. It was even fun! But of course, front man (woman: P) is very important on stage for visuality and raising the adrenaline level of the audience. I have heard some guys saying “Hey where is the vocalist!?!” I always liked the unique way of drummers doing the vocals at the same time. I think it is very cool.

Deimos was an all-female trio. Was it intended to be like this since the beginning? Both aspects, all-female and three musicians?
Yeah we always wanted to be a female band. We had 4 people at the beginning. Core members (gözde, seda and me) and another vocalist. As we improved our music, we invited more musicians. But you know how difficult to work with girls is so we went back to our former members and didn’t ask for any musicians then after. that’s why I had to be the drummer and vocalist together.

Do you thing being all-female opened you more doors than it closed?
I think yes all doors were open for us. It was easier to book concerts because everybody were wondering us. But there was one thing bad about it. If you lose a member; you can’t replace her easily because it is really hard to find another good female musician.

And what about the lyrics, what did Deimos lyrics talked about?
I was writing about existence, actually meaningless existence. The inferior existence of humankind. I was reflecting my philosophical idea.

In 1998 you parted ways. What were the reasons that lead you to split up?
Life, necessity…We hadn’t much time for music and actually my desire broken coz we lost best change for our musical future. One of major record labels wanted to us and we couldn’t go there thats why I lost my attention.

But after all, in 2000 you got together again to play five special concerts. How was it, to play together again as Deimos? And was there any intention to try to continue together as a band?
Our lives became boring without music. We needed more action so we decided to go back to performing. It was just for fun.

However, you finally called it a quit. What happened after it? Which are the whereabouts of you three nowadays?
Everybody went their own ways. Different cities, different lives and we lost in life…

Back then Ankara seemed to be a good city for the underground bands. It seems that there is a strong female underground scene in Turkey, with emerging bands like Sirannon or ?lkim Oulanem, or the old Ebonsight. Is it that strong?
I really don’t have an idea about these new generation bands. Only Ebonsight, which is pretty much an old band, had done so well back in those years. I think today’s bands have more opportunities. But again I would like to remind you that wherever there are more than 2 women, it’s going to be troublesome.

Are there any other all-female bands that you feel like was an inspiration for you? And some other you feel the Deimos spirit reflected in?
To be honest, there were not much all-female bands around, neither local nor foreign. Yes I know, there have been bands came after us and inspired by us. It always surprises me how people still know and try to contact us even though we haven’t got a single release.

And now, watching it from the distance, do you regret of any decision taken about Deimos? Would you change something from their history to keep it alive?
Yeah there are few things I would change. Especially, we had an offer from a major label which we had to put it down because of our guitarist couldn’t go abroad.

Tell the readers why Deimos was a band to take a listen.
We were a band should be experienced live rather than listened.

Sophia

Branigan interview

Interview with Megan Branigan, the only musician behind Branigan. Her music is characterized by progressive passages, epic and melodic winds and clean vocals combined with black registers.

Listen to Branigan while reading the interview:

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Which is the current Branigan status, are you recording, on hiatus, composing?
I wouldn’t say that I’m on hiatus. I’ve just been brainstorming; heading in a new direction.

And the steps to follow in the near future? Which are your expectations for Branigan?
I honestly can’t say what I’m expecting to come of it. I would like to have a full line-up. I would like to just assume vocals and songwriting.

You started in 2003 as Origin Of Silence, and published “Mirage World Revival” in 2005. What have happened since then in Branigan?
Nothing has happened. I’ve just been thinking a lot, and working on other music not relating to Branigan. I have a few ideas for songs, but nothing solid just yet.

Their songs are promising, but I think they don’t have the deserved production. Have you thought of rerecording them in better conditions?
I would have to say probably not. I might decide, later on, to take a couple of them and rework them somehow. They just don’t seem to fit the atmosphere I’m going for these days.

Are you responsible of all instruments and voices in Branigan? And of all the composing process?
I would have to say for now; yes. Everything on “Mirage World Revival” was me. Hopefully that will be changing shortly.

Being a one-woman project has its good and bad things. Can you tell some of them, and why do you decided to make music by your own?
It’s good because you don’t have to rely on other people. It’s a lot harder to have band mates make the music sound the way you hear it in your head. Doing music on your own is hard, frustrating, and if you’re a perfectionist, your musicianship may not be up-to-par with what you want to hear. That’s when it’s good to have people help, and why I’ve decided to pursue that in the future.

One of the bad features is the difficulty to bring your music live. Have you ever played a gig as Branigan (or Origin Of Silence)?
No; I wouldn’t do that without a full line-up. I enjoy playing shows and would like to do so with Branigan.

Being just by yourself is it the best way to fully express yourself musically?
I answered that in a previous question, but certainly. It’s a lot easier to correct something yourself than it is to constantly have to go over parts with your band mates. I think I’ve become more open to extra input lately.

And lyrically? What are your lyrics about, do they reflect introspective thoughts? Do you show yourself in them?
I can tell you that most of the lyrics I’ve written are relating to dreams I’ve had. They’re a mixture of dreams and nature.

You are melting black, melodic, epic and progressive elements. Your music is original, it has your own label. But, which are the bands that has influenced you the most?
Iron Maiden, Vintersorg, Korpiklaani, Skyforger, Bal-Sagoth, Judas Priest, and Moonsorrow. I listen to a lot of different styles of music, but these are the metal artists that have influenced me the most.

Talking about labels, have you found any record label interested in your music?
I haven’t at this point in time. It’s perfectly understandable; the quality of Origin of Silence wasn’t too great and my resources were limited.

There are other one-woman bands/projects, like Aythis, Turdus Merula, Coldnight, Branigan, Terra Teratos, Lidande, Melencolia Estatica, Cadukeya. Do you know/like any of them?
I haven’t heard of any of these.

Are you collaborating with any other bands, do you have time enough to dedicate to Branigan?
I’m currently working with someone to revive a band called Llyfyrion. The music was excellent, but most of the musicians fell short and they split up awhile back. It’s a very promising band, possibly more so than Branigan. I do feel that I’ll still have plenty of time to dedicate to Branigan.

Internet seems to the best way at the moment to promote your music. Are you receiving good feedback from around the world?
Yeah, I have. I think the Internet can become bogged down with too many artists though, so you have to find key places to promote. Review websites are good for this.

And is there any way people can get your LP?
Sure. Send me an e mail (braniganmegan@gmail.com) and for five U.S. dollars it can be yours!

Tell the readers why Branigan is worth to take a listen.
It’s good for those of you who enjoy music with a strange atmosphere. I’m honestly a bit frightened by some of the stuff I come up with. I like creating music that is somehow attached to the dream world; surreal and cold. If I can leave you completely blank after listening to some of my music, then I’ve done my job. It exists only for that purpose.

Read more about Branigan

Fabiola Daniela Arguinzones