Marnie Stern

brittany — Tue, 05 Oct 2010 08:00:00 +0000

The buzzword on Marnie Stern's self-titled third album seems to be "introspective." Frankly, this descriptor hardly seems indicative of a sea change if we've been paying attention to her lyrics.

Sure, In Advance of the Broken Arm and her breakthrough sophomore effort, This Is It And I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That, pack a mean sonic wallop. But her second album could have been retitled The Tao of Marnie. It was especially festooned with at-times profound statements and affirmations about the creative process and the human condition. Just because she pitched her nasal voice in a giddy upper register and her fingers were flying across the frets of her electric guitar didn't mean she wasn't doing some soul searching. Even if she didn't announce what the songs were about didn't mean she wasn't in them.

What I think the main difference is between her prior work and the new album is less reliance on creating a sense of immediacy. Previously, her music foregrounded indelible guitar riffs played loud and often executed with superhuman speed. The sound here is more meditative, with less emphasis placed on hooks instead of hypnotic passages that build as they repeat or are broken up by unexpected melody lines. The lyrics, though still introspective, are more clearly applicable to Stern's personal experiences. Much of this is attributed to the opening track. "For Ash" is a song dedicated to an ex-boyfriend who committed suicide and the process of writing it helped Stern out of a creative dead end.

This sense of loss, remembrance, and reflection informs much of the album's content, shifting Stern's ability to channel musical catharsis through her guitar playing. This is evident on songs like "Transparency is the New Mystery," "Risky Biz," "Gimme," "Cinco de Mayo," and especially the haunting closer "The Things You Notice." While Stern and drummer Zach Hill's playing is no less muscular, it possesses the control to vary tempo or decelerate while maintaining buoyancy and ramping up suspense.

But Stern's characteristic playfulness and prowess over a face-melting riff equally defines the album which bears her name. Songs like "Nothing Left," "Building a Body," "Her Confidence," and the pointedly titled "Female Guitar Players are the New Black" could easily slide in to the tracklists of her earlier releases.

However, that they weave seamlessly into this album suggests Stern's steady artistic progression. It also suggests that inward thought can yield some mighty external results. This album may not capture your full attention on first listen, but I'm confident it contains enough interesting ideas to invite many returns. As Stern continues to hone in and balance introspection with formidable instrumental performance, we may get the pleasure of discovering that they aren't disparate concepts. Here, they seem to be in service of one another.

Written by: Alyx Vesey, October 5th 2010

This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That

admin — Fri, 16 Jan 2009 12:02:00 +0000

By Marnie Stern

Kill Rock Stars

Marnie Stern was brought to my attention by one of my favorite shredders, Marissa Paternoster of Screaming Females. This could not be more appropriate as Marnie Stern is also a shredder. I could not help but be intrigued by this album. The cover art (by Bella Foster) grabbed me immediately with its watercolor and pencil styling of dreamy forest imagery recalling Henry Darger. The album’s curious title, This Is It & I Am It & You Are It & So Is That & He Is It & She Is It & It Is It & That Is That comes from a 1960 Alan Watt piece, This Is It.

This Is It... begins with just a nondescript clicking and Marnie Stern's elfish voice repeating eerie phrases "defenders get on to your knees..." in "Prime." On first impression, Stern’s voice is can be compared to Joanna Newsom's quirky vocals. At forty-two seconds in, the beat drops and the song really begins, exploding into a panicky cacophony of guitar and drums.

The album is definitely a psychedelic freak out. Stern pairs up again with Zach Hill of Hella, who also appeared on Stern’s 2007 debut album, In Advance of the Broken Arm. Stern's intricate and erratic guitar riffs can only be followed by someone with the impeccable timing and precision of Hill. I would argue that he is the most appropriate drummer for this album.

Bassists John Reed Thompson and Jonathon Hischke demonstrate the ability to follow through on Stern and Hill's compositional aesthetics. Stern’s creative riffs and unique voice call to mind Deerhoof and Erase Errata, in the best ways, which should be extrapolated to mean you can definitely dance to this. At times I am even reminded of The Beatles' more trippy songs. Tracks like "The Crippled Jazzer" are super-driving, making it clear that Stern is well-versed in the art of inducing head-banging as well.

This Is It... will definitely satisfy your need for weirdo psychedelic jams. It is exciting to hear someone going down a completely original route with what seems like no pretense at all; this is hard to find especially in New York. And I'd also be lying if I said I weren't excited that Marnie Stern recorded this album herself.

Written by: Kate Wadkins, January 16th 2009

In Advance of the Broken Arm

admin — Fri, 13 Apr 2007 18:23:00 +0000

By Marnie Stern

Kill Rock Stars

Who wouldn't be interested in listening to a female musician who is described as playing guitar better than “you, or me or probably ninety-nine percent of the people who have ever looked at a guitar?" From the Upper East Side of Manhattan, Marnie Stern was signed to Kill Rock Stars after sending in a demo tape. In Advance of the Broken Arm is Marnie Stern's debut album and includes songs she wrote in her bedroom over a two year period, with production and drum work by Zach Hill.

Marnie Stern certainly does shred. After receiving the album, I did what I usually do with new music. I listen to it sitting. I listen to it while I bustle around the city. I listen to it when I am feeling tired, and when I am full of energy. In Advance of the Broken Arm satisfied me in each of these listens. Her music is so rip roaringly catchy that you can't help but move your body to it in some way. There are layers of guitar work that compliment well her riot grrrl-like voice. My favorite aspect of the album is the lyrics; they are simple, but beautifully poetic.

On one of my favorite tracks, “Patterns of a Diamond Ceiling,” Marnie sings, “I am not looking to find a pot of gold” and “the picture in my head is my reward.” I would say the picture she creates in this album could be your reward if you take a listen.

Written by: Lesley Kartali, April 13th 2007