Comments on: The Pity Party wants my blog love http://www.stylewalker.net/2008/07/01/the-pity-party-wants-my-blog-love/ Music, Lifestyle, Science Wed, 08 Feb 2012 08:49:52 +0000 hourly 1 http://wordpress.org/?v=3.1.2 By: Dave Cromwell http://www.stylewalker.net/2008/07/01/the-pity-party-wants-my-blog-love/comment-page-1/#comment-703697 Dave Cromwell Mon, 13 Oct 2008 20:22:04 +0000 http://www.stylewalker.net/?p=657#comment-703697 I love The Pity Party I wrote this review about them back in March of 2007. the much anticipated first ever live appearance in New York by The Pity Party. Coming out of LA’s current musical underground, this two person band was hand-picked by The Raveonettes to open their tour. On initial glance, this personnel configuration might make one think of The White Stripes. However, that would be a mistake as they sound nothing like them. True, the band’s appearance is slightly “White Stripes-like” – female Heisenflei on drums and vocals – but she also plays keyboards at the same time. It really is something to see. Maurice-Robert provides the other half of vocals, as well as all the guitar work. I would be inclined to say their sound is actually somewhat closer to another female drummer /male guitar player duo – The Kills – but even then not really all that much. While The Kills uniquely merge delta blues guitar riffs with Kraftwerk-like beats – The Pity Party’s sound is really like no other. Perhaps the closest comparison would be Sonic Youth in their more experimental phase. If you had only one word to describe their sound – it would have to be “angular”. Maurice’s guitar lines block out static patterns that bring to mind a robot march in the song “The War Between Eight and Four,” while Heisenflei raps out a complimentary pattern on the drum kit as well as playing a bass keyboard part with her left hand. Quite impressive. The two sing the lyrics in unison. This sometimes sparse, sometimes full and distorted sound progressed throughout. A particular early fave of mine is the song “Dronebots and Peons” (for eons and eons). “Hooray for the future” they sing. The song is driven by a descending single-note guitar lick. Heise throttles her drumkit (barefoot) in addition to driving a completely dirty and distorted keyboard pattern that sometimes consists of smacking two notes down in near violent manner. It’s a wild tour-de-force. This is the furthest thing from “tame” music. It is both a visually and sonically appealing show. http://www.somasomascene.com/raversnyc.html I love The Pity Party

I wrote this review about them back in March of 2007.

the much anticipated first ever live appearance in New York by The Pity Party. Coming out of LA’s current musical underground, this two person band was hand-picked by The Raveonettes to open their tour.

On
initial glance, this personnel configuration might make one think of The White Stripes. However, that would be a mistake as they sound nothing like them. True, the band’s appearance is slightly “White Stripes-like” –
female Heisenflei on drums and vocals – but she also plays keyboards at the same time. It really is something to see. Maurice-Robert provides the other half of vocals, as well as all the guitar work. I would be inclined to
say their sound is actually somewhat closer to another female drummer /male guitar player duo – The Kills – but even then not really all that much. While The Kills uniquely merge delta blues guitar riffs with Kraftwerk-like
beats – The Pity Party’s sound is really like no other. Perhaps the closest comparison would be Sonic Youth in their more experimental phase.

If you had only one word to describe their sound – it would have to be “angular”. Maurice’s guitar lines block out static patterns that bring to mind a robot march in the song “The War Between Eight and Four,” while
Heisenflei raps out a complimentary pattern on the drum kit as well as playing a bass keyboard part with her left hand. Quite impressive. The two sing the lyrics in unison.

This sometimes sparse, sometimes full and distorted sound progressed throughout. A particular early fave of mine is the song “Dronebots and Peons” (for eons and eons). “Hooray for the future” they sing. The song is
driven by a descending single-note guitar lick. Heise throttles her drumkit (barefoot) in addition to driving a completely dirty and distorted keyboard pattern that sometimes consists of smacking two notes down in near
violent manner. It’s a wild tour-de-force. This is the furthest thing from “tame” music. It is both a visually and sonically appealing show.

http://www.somasomascene.com/raversnyc.html

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