Woman
Interview By: Ashlee Elfman & Christine Dunleavy
Preface By: Ashlee Elfman
Straight out of New York, drenched in noise, distortion and maleness, come WOMAN. Bringing the spirit of Australian musical dystopia and 1970’s New York raw power to a head, they release their first album, appropriately, on Bang! Records. There is an untamed quality to WOMAN that might seem dangerous to most people in this disinfected, pop society. The band produces an assault of dark and shamelessly uninhibited songs that are not for the weaker of the species.
BWS – Brett W. Schultz, vocals and guitar
SB – Skeleton Boy, bass
Q. So what made you guys start the band? Why the name “WOMAN” as your sound tends toward the masculine, was this dichotomy on purpose?
A. BWS: Kristian and I were introduced to one another by Joshua Gabriel -- The Spiritual Father of WOMAN -- because he knew Kristian was an Australian rockist and I was a fan of Australian rockism. At that moment in mid-2003, there was a glut of bands named "The Somethings" and so we aimed for a single, highly evocative word. And I mean, really, what word better sums up the entirety and purpose of 60-some years of rock 'n roll than WOMAN? We were shortly thereafter backed up by Pete Townshend who, upon receiving a flyer to our show, remarked, "WOMAN. Now that's a great name. I can't believe no one's ever thought of that." A whole mess of bands from around the world apparently consulted with Pete right about the same time, so now anything female-related is the new "wolf" for band names.
Q. How is the music scene in New York? What are some bands you guys have played with?
A. SB: I generally despise most acts in this city but if you can wade through the growing mass of impostors, fashion stylists, indie rock blog-zombies and careerist parasites that now plague this town there are still a few bands lurking underneath that are real and raw. Unfortunately most audiences aren’t interested in music as anything more than a disposable accessory but that’s their problem. We’ve played with Pop. 1280 a few times who spin trebly, twisted tales of urban living and are named after the Jim Thompson novel, of course. Atlanta transplants K-Holes are another great noisy, sloppy and swampy band and we also highly endorse Coconuts, the latest project from Tim Evans of Bird Blobs infamy. All three have records coming so keep your ear to the ground. You won’t be disappointed.
Q. You guys definitely have an in your face sound, full of a primal attitude and rawness. What’s in store for people that go to see a live set?
A. SB: Tinnitus.
BWS: If you turned our amps down to 2, you'd realize that we're actually playing Boz Scaggs covers. We just have volume issues.
Q. What are some of the weirder influences that you guys have? Your album has almost a sense of impending doom to it and we find that quite enjoyable.
A. BWS: That's the sound of not having money to fix and/or replace all the equipment we manage to break.
By Carsten Fleck
Q. Why is there a song called “Eat D.N.A.”? Does that mean you guys might be supporters of cannibalism?
A. BWS: Scientifically speaking, DNA isn't unique to our species. But there could be some human DNA on that plate, sure. Idi Amin knew.
Q. Do you guys have any other projects or collaborations that you’re working on?
A. SB: Kristian and I recently backed up our good friend M.J. Halloran while he was visiting from Melbourne. Dee Pop of the Bush Tetras and The Gun Club rounded out the rhythm section which was a real treat and I also seem to have finally learned the names of the notes which will certainly please other members of the band.
Q. Your new album is released on Bang! Records, which seems so fitting, how does it feel to be on a label alongside so many of your influences? We’re mighty excited about that for you guys.
A. SB: We’re proud to be on – as a recent Italian review put it – “one of the filthiest labels on the planet”. The roster is impeccable and it’s quite an honor to be included. What I like about BANG! is what I’d always liked about labels like Crypt, PCP Entertainment or Black Eye in that I could buy anything with that imprint and rarely would I be let down. There seem to be very few labels around with an aesthetic that you can depend on anymore. Juan and Gorka care more about making noise than making money and seem to encourage all of our worst impulses, both musically and personally. Truly a match made in hell.
By Carsten Fleck
Q. What can we expect from WOMAN in the future? Any plans to tour?
A. SB: Fortunately for the public, we've got several new hits underway which will be committed to tape early this summer. In the meantime, we’re set to hit the West Coast with a tour the first week of March and will finally be playing some international dates at the beginning of next year.
Q. Does New York figure into the WOMAN sound or do you think you would have been apt to create this sound in any other environment?
A. BWS: It probably has more to do with our own respective influences and experiences in combination, but it does seem hard to imagine making the same kind of music in, say, Los Angeles or Miami -- or any city that has sun and generalized optimism throughout the year. It wouldn't be quite as convincing. New York has a unique way of making one feel miserable, guilty, and arrogant at the same time. I'd say that sums up our sound.
Q. Any words of wisdom for our readers?
A. BWS: If I was wise, you'd be reading this in Rolling Stone.
WOMAN March Tour Dates
3rd-Soda Bar-San Diego.
4th-The Prospector-Long Beach (with The Growlers)
5th-The Smell-Los Angeles-All Ages (with The Enochian Keys)
6th-L'KEG-Los Angeles-(with The Enochian Keys)
7th-Kimo's Bar-San Fransisco-(with Ovipositor)
9th-East End-Portland, Oregon-(with Magick Daggers)
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