Screaming Females - "All At Once"

Screaming Females are a New Jersey Punk band who have been dishing out very grimy Punk for over 10 years now.  On their 2006 debut "Baby Teeth", I felt like it was maybe a little too grimy though.  I certainly though Screaming Females were bringing in some very dynamic, energetic performances, like on the very bluesy "Bus Driver Man" or "Henry's Embryo".  But a lot of the rest of this album just seemed a little too amateurish and not as polished as I would have liked to have heard.  I do have to say though, 2007's "What If Someone Is Watching Their TV" was a huge improvement.  Screaming Females all around were dishing out so much more wile performances that all around were just so animated.  Tunes like "Starve The Beat" and "The Real Mothers" were just so animated and instantly really likable.  Screaming Females continues to expand their sound on 2009's "Power Move".  I just loved how technical they seemed to be getting with tracks like "Treacher Collins".  But I have to admit, as much as I dug this album in parts, I really wished that they would start working with some cleaner production. And what do you know, that's exactly what I got with 2010's absolutely killer "Castle Talk" album.  This album was a modern Guitar masterclass, filled with brilliant riffs and wild performances.   Screaming Females sounded so unhinged, but also didn't just seem like they were desperately trying to be the next Sleater Kinney.  But man, did Screaming Females sort of throw that away with 2012's "Ugly".  This album all around was just so painfully average.  Some of the tracks here like "Rotten Apple" were decent at best.  But this album was almost double the length of their previous releases, and I feel like Screaming Females just tried to fit way too much in.  Then we had 2015's "Rose Mountain", which sort of divided Screaming Females fans.  They brought in Steve Albini for production here, which I thought was going to lead to some of the band's heavier material.  But "Rose Mountain" actually turned out being their most accessible and catchy yet.  This was honestly more of an Indie album than anything, which lead to seriously infectious tunes like "Rose Mountains" and "Wishing Well".  But it also lead to tracks like "Broken Neck" which just seemed directionless.  This was sort of a mixed bag of an album for me.  Now, I'll be honest, I wasn't expecting much from this new album.  But I was sort of taken away by just how much I seriously loved these first few singles from this new Screaming Females tracks. Let's chat about this!

This album starts off with the very immediate “Glass House”, with Screaming Females just coming off so urgent.  I seriously love Marissa Paternoster’s very haunting, almost ghoulish vocals.  I’ve always loved just how much character her vocals have.  But this track is different, mostly because of how polished it is.  It’s going to be hit or miss with some, but personally, I just love how squeaky clean the production is here.  Don’t let that fool you though, “Glass House” is still grimy and sludgy.  But it’s also seriously hypnotizing in parts.  Between the catchy lyrics and the intense instrumentals, this one really sticks with you.  For years, I always sort of felt like these guys were Sleater Kinney wannabe’s, but this intro pulls them way beyond that.  Then we have “Black Moon”, which really in a lot of ways is a whole lot more direct and up front.  There’s no buildup or tension, just a really solid Punk riff right off the bat.  I still feel like Marissa’s vocals are incredibly charismatic, and it’s amazing just how much she’s stepped out into the limelight on these tunes.  But it honestly makes the music of Screaming Females more inviting than ever.  “Black Moon” is catchy, intense, grimy, and seriously wild.  I just can’t listen to this an not picture some beer-soaked bar.  The riffs are tough, and the playing from King Mike and Jarrett Dougherty is determined and sets such a great base for Marissa.  Then we have “I’ll Make You Sorry”, which is easily some of the tensest, expertly crafted and wild Punk music I’ve heard here.  I love just how unhinged Marissa sounds in her performance, whose vocals just seem to get more and more wild with each passing moment.  This may be some very straightforward Punk, but I would be lying if I didn’t call this easily some of the catchiest and most memorable Punk I’ve heard in a while.  These choruses are so catchy, but Marissa’s performance through it all remains so heartfelt and tremendous.  It also continues to be, in a way, seriously haunting.   “Dirt” on the other hand is easily not as punchy or as wild as the first few tunes here.  It’s much more low-key and focused on grooves and a trip atmosphere. There certainly is a sort of old school feel to this, and at the end of the day, there’s a sort of Goth flair deep down.  I wouldn’t say this track is nearly as punchy or memorable, but for a track that sort of comes off like an early 90’s Indie gem, this is far from bad.  Now for my money, “Agnes Martin” is the epitome of how Screaming Females should approach a slower tune.  I love the bluesy riff, and for once Marissa’s more grounded performance is really appreciated.  It’s a very grimy performance, but it’s anthemic just the way it needs to be, as Marissa picks up just in time to belt out a ridiculous chorus.  I do have to say, on paper these tracks may be obvious and simple, in the best freakin’ way obviously.  Because when it all comes together here, it’s a beautiful thing.  Not to mention, when that crushing final chorus comes in with these wailing guitars and brilliant keyboards, I feel like Screaming Females sound better than ever.

    This album rolls on with “Deeply” which is actually my least favorite track here.  This one is lifeless and completely sluggish.  After Screaming Females completely show off just how great they are at putting together a chugging, intense slow burner, this one just fizzles out early and doesn’t come back.  Even Marissa’s performance is boring and bland, and there’s barely even an instrumental to keep track of.  On the other hand, “Soft Domination” is a totally different animal.  I love just how groovy and funk-oriented this one is.  It still has a few wild moments here, mostly in Marissa’s performance.  But at the end, this is just another incredibly streamlined and catchy Punk tune.  My only real issue with this one is that I sort of wish this was a little longer.  It’s also worth noting that this is noticeably cleaner, to the point where this one wouldn’t last 5 minutes in a beer-soaked bar.  But trust me, “Soft Domination” will still kick your ass though.  By the time “End Of My Bloodline” revs up, it’s obvious that this album has seriously slowed down, which isn’t entirely a bad thing.  This one is much more brooding and dark.  But sadly I’m not nearly as captivated by this as I was hoping I would be.  It’s one of the shortest tracks here, meaning it really doesn’t get that much room to breathe.  It’s not nearly as catchy as the other tracks here as well, and overall isn’t as interesting.  At the very least though, “Chamber For Sleep Pt. 1” is much more upbeat right off the bat.  I feel like honestly King Mike and Jarrett Dougherty are a completely underrated rhythm section, and can easily carry themselves.  It’s groovy, funky, and most of all determined.  Now, honestly, I sort of wish this one was a little more off the rails and wild.  But still, “Chamber For Sleep Pt. 1” is a totally solid tune, and I just low how charismatic Marissa’s performance is.  But I feel like as this one goes on and on, it does get more interesting.  I love just how hypnotic everything gets around the 2 and a half minute mark.  Not to mention, the near two-minute jam that rounds off this track is seriously wild.  And after that very hazy first track in this duo, the more determined riff on “Chamber For Sleep Pt. II” is actually really welcomed.  I love the twinkling guitars and the hypnotic bass.  Honestly, it’s such a great intro that I really wouldn’t have minded if this track was completely instrumentals.  But Marissa certainly does pop in for another commanding performance.  And while I wouldn’t say it’s her most memorable of the album, but it’s an incredibly solid conclusion and proves that Screaming Females are on top of their game.

    Then we have “Bird In Space” which is stripped down and sort of retro sounding.  It’s certainly smooth, and a fairly tasteful throwback.  But as much as I want to really love this one, I do miss the energy of the earlier tracks here.  Not to mention, Marissa’s performance on this track doesn’t do nearly as much for me.  I like a lot of the small details, like the ragtime pianos and the emotional guitar solo.  But, I just sort of miss a lot of the wild energy this album had going for it.  And the fact that “Bird In Space” is almost 5 minutes long doesn’t help anything.  It’s an alright tune, but I just think it’s too far from the sound they should be going for.  But hey!  “Fantasy Lens” found it, people!  It found that great energy I was looking for.  This is actually the heaviest, most chaotic tune I’ve heard in a while.  Marissa’s performance is easily one of her most out of control, and the entire band just sound so dangerous here.  This may be straightforward Punk by the book, but I love just how tight the guitars come off, and just how throttling the verses are.  Hell, sen that more chilled out, spacey breakdown just comes off so well.  “My Body” continues on with these more determined sounds.  This one is smooth, gritty, and while it’s far from Marissa’s most wild performance, she does great at giving us a seriously “Cool’ performance.  For a shorter tune here, “My Body” just works so well.  On the other hand, I’m really not that into these short, more Psychedelic performances like “Drop By Drop”.  I mean, I don’t absolutely hate this tune.  But I just end up missing the energy of earlier tunes way too much.  Not to mention, this actually could have been a little more decent if they made this an actual tune and not a 1-minute afterthought.  But for a very slick, sort of bluesy finale, “Step Outside” is scratching all the right itches.  I have to say, for an all-out guitar album, I can’t remember the last time we got an album like this.  “Step Outside” is patient and not exactly too energetic at first.  By its finale, it builds up into another very confident and melodic Punk tune.  But the best part about this as a finale is just how much it gives you a strong look into the band’s instrumentals which are a real spectacle here.  While Marissa takes a back seat for most of this track, this is a strong finale to a seriously well written and fun Punk album.

Rating: 8.3/10

Give A Listen To: "Black Moon", "Step Outside", "Agnes Martin", "Soft Domination"

Genre: Punk Rock / Indie Rock

Overall Thoughts:  Let's get the obvious out of the way, this is easily the best Screaming Femals album in years.  But it's a whole lot more than that.  It's a fun, upbeat, and most of all well written collection of Punk tunes.  There are guitar jams, punk anthems, a few Indie throwbacks and more on here.  If it were me, this album would have been a little shorter and trimmed some of the slower tunes.  But I haven't been this blown away by a Screaming Females album in years.