Screaming Females - US
Screaming Females had such a clear goal for their new album that it became almost a mantra: they wanted songs that were concise, crisp and melodic. That’s exactly what the New Jersey punk trio delivers on Rose Mountain, their sixth LP, due in February on Don Giovanni Records.
The album is a milestone in a number of ways. Not only does Rose Mountain reflect a new approach to the band’s songwriting, the LP marks the first time Screaming Females have worked with an outside producer, and comes as the trio celebrates 10 years together.
“I’m very pleased and proud of us as a band for playing together for so long,” says singer and guitarist Marissa Paternoster, who formed Screaming Females in 2005 with bassist Michael Abbate and drummer Jarrett Dougherty.
Their longevity helped prompt the concise-crisp-melodic mantra for Rose Mountain. Although melody has always been a central part of the band’s music, the musicians have often layered them into massive thickets of interlocking sound on previous albums. They were ready to try something more streamlined with the 10 new songs on Rose Mountain.
“Our last three releases were dense musically,” Dougherty says. “This time, we tried to really hone in on what was important about the songs and get rid of what wasn’t important.”
The trio decided the vocal melodies were particularly important, and were careful to leave room for them while they were writing the new songs. “Before we got to that point where we had a complete, complex, intricate thing instrumentally, we stopped and said, ‘Let’s not finish this off, let’s let the vocals finish this off,’” Dougherty says.
The restraint they showed in writing the tunes didn’t affect the riveting intensity the band brought to playing them. You can hear it on “Empty Head,” the taut, lean album opener. It’s there in the interplay between serrated guitar and a buoyant bassline on “Triumph,” and in the airy verses that build into a tough, determined chorus on “Wishing Well.”
Many of the songs on Rose Mountain deal with Paternoster’s ongoing battle with chronic mononucleosis, which became so severe in 2012 that the band went on hiatus from touring for nearly a year. “I just could not get my act together,” Paternoster says. “We had to take time off, I couldn’t sleep, I wasn’t eating.”
Writing about the pain and uncertainty that accompanied her illness proved cathartic for Paternoster, who was already paying more attention to her lyrics than she did in the band’s earlier days.
“A lot of time it was just an afterthought, and I would just punch in whatever fit phonetically,” she says. “From playing hundreds of shows, I’ve realized that people do actually listen to the words. And if they’re going to take the time to listen to the words I’m singing, then I ought to take just as much time to write something that’s well thought-out.”
If leaving room for Paternoster’s vocal melodies was part of the band’s strategy for Rose Mountain, working with producer Matt Bayles was the other part. With a deeply rooted DIY streak, Screaming Females had self-produced their previous releases (with Steve Albini engineering their 2012 LP Ugly and the 2014 concert album Live at the Hideout) before overturning a long-standing, self-imposed rule and deciding it was time to bring in outside help. “What’s the best way to challenge yourself as an artist? Do something you told yourself you’d never do,” Dougherty says.
Bayles is perhaps best known for his work on albums by heavy metal acts like Mastodon and the Sword, which helped make Screaming Females confident in their choice: they figured he would be right at home with a loud, raucous band. Bayles joined the group in New Jersey to offer advice on composition before the musicians spent a month recording the album with Bayles in Seattle. They delved more deeply than ever before into the intricacies of guitar tones and drum sounds, and experimented with subtle touches that you wouldn’t expect on a Screaming Females album: listen for the organ buried beneath the terse guitars on “It’s Not Fair,” or the eerie, distorted tack-piano that brings the title track home.