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“It’s all us, but [the album’s] also as good as it is because of his involvement, for sure.” As is their wont, Violent Femmes did little if any pre-production, preferring to track together live whenever possible.
The band’s goal, as ever, was to get as close to the moment of creation as possible, while also capturing the natural sound of natural instruments.
Songs like “Not Ok” and “Another Chorus” bear all the marks of the Femmes canon – “I’m sure it doesn’t sound like this to anybody else, but to me in my head it sounds like A Tribe Called Quest,” says Gano of the latter – while others, like “Everlasting You” and “Adam Was A Man,” represent significant stylistic departures, adding new sonic elements and heretofore untapped flavors to the Violent Femmes’ musical palette. There are certain things that are a part of our sound that we gravitate towards because that’s what this thing called “Violent Femmes” has done from the beginning.
It includes an acoustic bass guitar; it includes brushes on a non-traditional percussion and drums setup, and, a lot of acoustic guitar.
“Our usual way of going about things was very much get in, start doing it, and figure things out as we go,” says Gano.
In 2002, Rhino/Slash reissued their debut as a two-disc Deluxe Edition that featured twenty-two previously unreleased tracks, followed by Permanent Record: The Very Best Of in 2005.
(I See a Noise appeared on Dali Records in 1990.) In 1989, the group resurfaced with 3, and followed in 1991 with Why Do Birds Sing?
, which featured the Femmes' deconstructionist cover of Culture Club's "Do You Really Want to Hurt Me?
The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio's music found little commercial success but nonetheless emerged as the ...
The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio's music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over.
Rex chestnut "Children of the Revolution" even became a minor hit.