Offbeat copper-toned ’09 Extra Special Bitter allows tannic grape acidity, moldy orange tartness, and mild nuttiness to affect honey-soured caramel-toasted malting. Citric-hopped cider sharpness gets diacetyl at tea-like tobacco-dried backend.
JEMINA PEARL HOOKS UP WITH FELLOW PET ON “BREAK IT UP”
Rocking all over America since age seventeen, contentious bad-ass punk diva, Jemina Pearl, hit the ground running in the now-defunct Be Your Own Pet before hijacking their drummer to co-compose a few tunes as lead guitarist in a solo venture she only hoped would satisfy loyal minions. The oldest daughter of churchgoing Jesus-worshipping hippies whose father played in a local rock and roll band, Pearl’s cutesy snot-nosed tomboy image and volatile onstage disposition proceed her.
Drawing listeners in with prudently smoothed-up pop gloss while saving her best stripped-down punk gunk for closure, Pearl’s wide spectrum of songs show off a versatility only hinted at in her former band. Using glam-rockers Lou Reed, David Bowie and Suzi Quatro as well as ‘60s girl group pioneers, the Shangri-La’s, for inspiration, her impressive debut, Break It Up, gains mainstream viability due to Iggy Pop vocal collaboration, “I Hate People,” a combative snip circumventing novelty status thanks to Pearl’s vicious misanthropic sneer.
Piss and vinegar run through Pearl’s coarse veins on pissy fuck-offs such as “Undesirable” and loose-y goosey glam slam, “Selfish Heart.” Similarly, ‘black tears’ stain her pale face on the guitar-rumbled “No Good.” On the more sensitive side, innocent love trinket “Heartbeats,” melodic pop charmer “Band On The Run,” and leathery black-hearted Joan Jett-enticed decree “Looking For Trouble” manage to ‘cut a little deeper.’ Meanwhile, “Ecstatic Appeal” could easily pass for a coquettish Go-Go’s new wave knockoff.
But it’d be unfair not to mention co-composing multi-instrumentalist John Eatherly, whose resourceful musical designs bolster Pearl’s venomous words of wisdom. As Be Your Own Pet’s mightily frenzied stick-handler, Eatherly provided raucous bottom end to Pearl’s rascally rampaging raunch. For Break it Up, he brought in fully formed song ideas perfectly suited for possible paramour, Pearl. Look at it this way. She’s sly seductress Mae West on a bender and he’s the guy willing to serve toxic potions to his bold gal pal. So come out and see ‘em some time.
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It seems as if you put the most conventional tracks up-front for greater accessibility while the greasy punk-snarled fury Be Your Own Pet dwelled in reinforce the albums’ backend.
JEMINA: We just tried to figure out a good flow.
JOHN: That way the kids will keep on listening. It may be more accessible. We were listening to a lot of ‘60s pop, getting into Classic ‘60s pop formulas for structure and hooks. That, in itself, was somewhat mainstream.
JEMINA: We’re really happy with it. We’re not necessarily gunning for a bigger audience.
Fervent confessional opener, “Heartbeats,” relies on ‘60s-styled drum rolls and conventional love song etiquette.
JEMINA: I feel that’s more ‘70s-oriented. I ran into a friend I hadn’t seen for awhile and she hadn’t seen me play since Be Your Own Pet and saw us play and said, ‘Dude, it’s really awesome. You finally got to do all the stuff you love that you couldn’t do with them. It totally sounds like glammy ‘70s rock.’ That’s what it sounds like to me more than ‘60s pop. Maybe it’s a combination of ‘60s pop structure and orchestration with glittery David Bowie/ Suzie Quatro affectations.
Your latest songs seem more heartfelt, sensitive, and mature. Are you more in touch with your inner feelings?
JEMINA: Last year was really gnarly. The best way to deal with fucked up shit is to write about it so the lyrics dealt with messy situations I was in. Maybe it’s more heartfelt. But I wouldn’t say it’s prissy shit.
You got label colleague Thurston Moore, Sonic Youth’s guitarist, to lay down some licks for “Band On The Run.”
JEMINA: Thurston played noisy backup guitar. He broke a string on that song and I said ‘Go get yourself another string.’ He said, ‘Why? I’ve got five more.’ He played the guitar up and down without the broken string. There’s not a lot of Thurston soloing. It’s like his version of a solo.
JOHN: He’s wandering around surfing the guitar.
How does John Agnello’s production on this solo project differ from what Steve Mc Donald (of Redd Kross) did for the Pet records?
JEMINA: Steve jump-started me to work on this record. After Be Your Own Pet broke up, he told me not to sit on my ass and to start writing. We grew up with Steve, but working with John was nice. We started at square one. He let us do what we wanted to do but tried to rein us in whenever it got too… He tried to keep us in check.
There’s a sassy contentiousness that seems to follow you wherever you go. You project black-hearted drama onstage.
JEMINA: I don’t know if I love controversy. I’m trying to be true to myself. I stick to my guns and don’t let people fuck me over. Like the time at Mercury Lounge (fronting Be Your Own Pet), that guy was heckling me, being mean, and came up onstage and I said, ‘What’ve you got to say to me now?’ He’s like, ‘I love you.’ He leaned in to kiss me and I said, ‘No!’ I slapped him across the face and then he proceeded to grab me. Immediately, the boys used their instruments as weapons. The club didn’t throw him out though. I have a tough girl image from growing up in a rough neighborhood. It’s not the same now. But drive-by shootings, transvestite hookers, and crackheads burning down houses were my favorite hits. But I’d rather not paint a sob story.
Does “Nashville Shores” touch upon your old neighborhood?
JEMINA: No. It’s closer to the airport in South Nashville with an amusement park and water park on a sandy lake. It’s really white trashy. Our bassist used to work at Nashville Shores as an alligator mascot one summer. It’s a joke to write a song about accepting the fact of where you grew up. You grow up hating where you live and just want to get out of there. Once I actually left, I thought Nashville wasn’t so bad.
Why’d you move to Brooklyn like a large percentage of well-known underground musicians recently have?
JEMINA: I always loved New York.
JOHN: We already had a bunch of friends here. It’s amazing. It made the most sense. There’s always something going on and I like that I don’t have to park. Everyone I work for is up here.
“So Sick” is a virulent snipe I thought may’ve been a delectable Pet leftover.JEMINA: We were listening to the Plasmatics one night and thought it’d be fun to write a song like that. Also, I fucking hate having to have a computer to check e-mails. Now, everyone wants me to do a blog and twitter. Everything sucks! YouTube stars and modern life is gross and nasty. When we play shows, everybody’s so busy taking pictures with digital cameras instead of actually having fun enjoying the show. There’s so many great pix of ‘60s, ‘70s, and ‘80s artists. But now it’s a clusterfuck of immature people who buy cameras and think they’re a photographer. That’s my mini-tirade. It’s great that MySpace made music so accessible. But there’s also such a downside. It clutters up the atmosphere – not to sound elitist and snobby. It takes away the mystery.
“Selfish Heart” is a two-minute punk slammer that seems totally impromptu.
JEMINA: It was pretty much written in two seconds. John had a guitar part reminiscent of Devo and I started to come up with a melody quickly about a dude I was dating. Those songs are usually my best.
Did you get to meet Iggy Pop after he added vocals to “I Hate People” in a separate Miami studio?
JEMINA: I met him in 2006 at an All Tomorrows Party festival Thurston curated. He was really friendly and said he saw me in Spin. He knew about Be Your Own Pet – which totally blew my mind that my hero knew me. I was more than a blip on the radar. He was my dream guy to work with. Then Thurston and Kim sent him the song and he sang on it. We didn’t sing together, which was bittersweet, because I didn’t get to sing in front of my idol on the same room.
In general, how do the arrangements differ from Be Your Own Pet?
JEMINA: We have more freedom. There was a strict sense of formula. Sometimes when one person stepped outside the line in Be Your Own Pet, someone would be ‘What was that?’ We wanted a wider variety. Now, there’s only two heads.
JOHN: I wrote a lot on tour with them, accumulating a bank of songs. Musically, I had all these new ideas figured out and Jemina wanted to use them.
-John Fortunato
OSKAR BLUES MAMA’S LITTLE YELLA PILS
Crisply carbolic straw-hued Czech pilsner needs deeper yellow-fruited luster and more incisive lemony lime tartness to overcome bleak corn malting. Understated herbal-floral influence, lackadaisical grapefruit bittering, and barren honeysuckle whim weaken over time. Kolsch-like ale yeast brings latent green grape esters and champagne sparkle.
21ST AMENDMENT MONK’S BLOOD
Kitsch-y oak-aged Belgian-styled ’09-initiated dark ale boasts candi-sugared barleywine-spirited complexity elevating compost-wafted cola-hued oak-chipped full body. Expansive cinnamon toasting drapes Belgian chocolate, banana bread, cherry puree, sugar plum and dried fig seduction. Bruised orange sweetness contrasting mild grapefruit rind bittering never ransack creamy rum-spiced brown-sugared vanilla uprising and toffee-glazed recess. Tertiary cookie dough, buttered pecan, and almond illusions cake everlastingly creamy molasses-chocolate-cocoa malting.
21ST AMENDMENT HELL OR HIGH WATERMELON WHEAT BEER
Mild golden-bodied wheat ale lacks fruity luster in canned version. Washed-out hard-candied Jolly Rancher watermelon tartness lingers softly through blanched rye wheat backbone. Subsidiary mandarin orange, peach, and cantaloupe illusions fade fast as abysmal pale-malted white-breaded sorghum slouching reaches soapy melon-limed finish. Watermelon juicing clearly needs deeper resonance and latent cloy nature proves troublesome.
RED HOOK TRIPEL BELGIAN STYLE ALE
Ambitious golden-hazed ’09 tripel with boozy 10.2% alcohol whir piles creamy vanilla malts atop banana leaf-flavored apple-pear-pineapple ripeness and peppery-hopped orange-bruised Cognac spell. Wavering cinnamon-spiced banana-clove sweetness fends off sharp alcohol burn before busy tropical finish allows funky Belgian-like farmhouse yeast strain to prod tropical Caribbean fruiting.
GRAND TETON BITCH CREEK 20TH ANNIVERSARY DOUBLE E.S.B.
Tremendous full-bodied double-hopped version of bottle-conditioned bomber-bottled ‘20th anniversary reserve’ Extra Special Bitter brings dark-spiced India Pale Ale-like fruiting to rich cocoa-chocolate malting. Orange-grapefruit peel bittering anchors brownish crimson commemoration as prune-raisin souring rises above tongue-tingling nutmeg-cinnamon spicing. Mushroom-like fungi yeast adds funky Belgian farmhouse ale underside.
OTTER CREEK QUERCUS VITUS HUMULUS
Richly fruited limited edition ’09 barleywine deviates from typical brutish stylistic rampage. Instead of a veritable meal in a bottle, it’s a well-integrated strong ale with lagered champagne yeast perfect for dessert. Honeyed cereal grains sweeten French oak-aged Sauvegnon Blanc grape juicing and gorgeous floral bouquet. Creamy butterscotch midst secures green, red and purple grape illusions as well as lustrous peach-tangerine-pineapple-nectarine exotica. Pronounced cherry uprising, buttery Chardonnay subsidy, and tertiary raisin-date-fig dryness add further depth while peppery herbal hop zip enlivens modest spicing.
GRAND TETON HOWLING WOLF WEIZENBOCK
Decent 2009 cellar-reserved bottle-conditioned ‘strong wheat beer’ with pleasant citric acidity and surprising mocha tenacity bides time as loud 8% alcohol luster gets heard. Creamy caramel-cocoa-chocolate malts ride above peppery clove-spiced fig-sugared vanilla sweetness and orange-bruised banana tartness. Molasses-like Sugar Daddy keepsake forges doppelbock-like character over musty yeast-creased candi-sugared Belgian ale peculiarity.
ESTRELLA DAMM INEDIT
Meek straw-yellowed moderate-bodied witbier-likened Catalan lager in green-tinted wine bottle could use better up-front doughy insistence and richer fruitiness (though its mild nature complements vinegar-based salads, tuna, and salmon). Seltzer-like citric spicing wavers below wet-papered sorghum flouring, wheat-honeyed crystal malting, and gentle ginger herbage. Washed-out lemon candied tartness, floral mandarin orange wisp and unripe peach subsidy gain acidity while under-whelming orange peel, coriander, and lime illusions prove negligible for fizz-toned summer session beer.
RIVER HORSE DOUBLE WIT
Instantly likable golden-hazed crystal-malted Belgian-styled witbier maintains fruit-spiced integrity. Coriander-clove spicing engages lemon zest, mandarin orange, tangerine, apricot, papaya, and pineapple illusions countering peppery-hopped orange peel bittering. Subsidiary whiskey-soured white wine tenacity overrides banana bubblegum undertones to doughy white-breaded wheat spine.
MAGIC HAT WACKO SUMMER SEASONAL
Impossibly clear pinkish amber hue proves even lighter and more transparent than soft-toned session beer itself. Faint orange dryness and distant grassy-hopped bittering coerce washed-out beet-sugared strawberry-melon-apricot astringency. Subtle pale-malted Pac Mac yeast influx doesn’t suffice and vacuous citric-soured finish leaves slight metallic twinge. Sadly, summer retreat ain’t nearly ‘wacky’ enough re-tweaking Magic Hat’s equally pallid beet-crazy precursor Kerouac Ale.