16

Showgirl at the seaside …

Here are a few snaps from my latest photoshoot down in Mathry, West Wales, in the beautiful Pembrokeshire Coast National Park. This was going to be my final shoot before surgery – a quick change of scene before my extended indoor convalescence – but given my recent bad news on that score, there is now no telling. Still, I had a very pleasant stay over there, had a quick spell of decent weather (all a Welsh girl ever dare hope for), and made sure to take some images in my burlesque costume from the “Far Far Away” show (see here, or here for the video) before it gets retired, alas … although actually it got a quick dusting off this week as me and two of my Cabaret Club classmates did a reprise of the dance routine for a local intersectional feminist event. I would say more about that, but it all hinges on the ongoing media and political war between trans rights activists and trans-exclusionary radical feminists, and Goddess forbid I should draw that sort of attention back to this blog. I prefer to keep it as light and decadent as possible these days … although I am glad our dancing was able to support the cause, in its small way. 🙂

All photographs by the lovely John Waring.

Advertisements
11

Album Review: “Pesticide”

Having recently received some lovely reviews on my own work, I feel the time has come to share some of the love around, so the next few posts will be reviews of works I have recently discovered and felt were deserving of a wider audience. To commence, a punk-Goth album by an independent local (as in Welsh) band …


“Pesticide” (by Clusterfuck)

pesticide

I should state, for the sake of honesty, that the founder, drummer, and producer of this band is one of my best and oldest friends, and also one of the nicest people I know and one of the first people to support me in my transition, so pardon me if I am a little biased … That said, I can impartially state that I know few people so committed to their art, so perfectionist in their instincts (I have seen him lose faith in and abandon many a promising track, or take great persuasion to release them), and so wonderfully eclectic in their tastes, with musical influences ranging from The Sex Pistols and Daft Punk, to lesser-known 1950s Rockabilly idols, to contemporary classical composers such as Giacinto Scelsi and Arvo Pärt. This commitment and eclecticism is reflected in his latest album project, the second with this particular band following the almost-as-good “Dear Mortal,” (or visit here to listen online) but I would call this a definite artistic progression, more unified in its structure).

It opens on a epic note with “Reach Out,” with soaring vocals reminiscent of the interludes on Pink Floyd’s “Dark Side of the Moon,” although by and large this album is far ‘punkier’ than it is ‘proggy’. At any rate, though, it makes for a striking overture, and an impressive lead into the first actual song of the album; “Paranoia.” This piece is as dark as its name suggests and one of the album’s highlights, with a sinister, driving techno beat accompanying the eerie lyrics and the whispering ‘inner voices’ chorus. The Gothic mood continues in tracks such as “Death Begins” and the instrumental “We Are the Void,” the latter in particular being another highlight, its dark electronic rhythms being varied by haunting harmonica fills that seem to echo out of the void (appropriately). Also in this mood – and another of the album’s finest offerings – is their cover version of T. Rex’s “Get It On.” It somehow fits seamlessly into the group’s musical and vocal style, carried along by some beautifully haunting guitar work.

Other tracks, especially to the midsection of the album set a lighter, more relaxed mood, especially the infectiously catchy “Besties,” “Electric Distortion,” (a track on synesthesia, the vivid lyrics delivered in a comically deadpan fashion by the guest vocalist), and the wickedly satirical yet outrage-inducing “Trumped,” consisting mostly of ‘lyrics’ culled from the 45th US President’s most reprehensible statements, along with well-chosen mocking, comically-timed samples. One would love to imagine him hearing it … The satirical mood becomes much darker in the final tracks, with “Money” and “Tazer” dealing with poverty, prostitution and police brutality, but it all concludes on a mercifully upbeat track with “Death Race.”

With tremendous energy, variety, a social conscience, a wicked sense of humour, and a remarkably strong production (especially considering its humble origins, with no big studio or equivalent backing), I have no hesitation in recommending this (with the sole caveat that their language can be quite strong … as the band name itself implies). On a final note, here is me in some rather old footage (taken around 2015) being in a music video for their first album …