post-punk gems, v. 18 — Le Tigre

Hump day looms, once again, and I hope all’s going well in your neck of the woods, ‘burbs, or metropolis.

There’s some fun Stealing-related news to go ’round: Tim at theclashblog.com posted a two-part interview (one & two) from a few weeks back, and folks seem to enjoy what I had to say, so that was marvelous. And, with the book’s release in the UK, people seem to be paying attention (and paying for the book, thank you!–check out the rankings down the page), so that’s good news, too.

Today I’m thinking real post-punk, or late post-punk, having taken in another section of the auteur rockumentary Who Took the Bomp? Le Tigre on Tour (2011), which presently streams on Netflix and is definitely worth a look. Since there’s almost no backstory, you might want to get some band history online first, but the film offers fun footage of K. Hanna and co. talking about the goals of the band, explains why it’s still ultra-important for ladies to take the stage (and to expand what it means to act “lady-like”) and why it’s hard to do so, and shows why the kids in Indianapolis need Le Tigre so desperately. Like The Clash, Le Tigre turns great politics into great danceable songs with gritty determination. (Some sources regard them as “an electroclash band,” which tells me very little but it sure sounds great.)

Here’s my favorite track from their 1999 self-titled debut, which provides a real sense of Ms. Hanna’s vocal prowess. It also owes a fair share to The Clash’s “Magnificent Seven,” in terms of form, danceability, and word collage. (Lyrics are NSF, by the way.)

Word on the street is that The Clash have a new box set coming out this fall in the multiple hundreds of dollars range. Please tell your friends at Sony they can send me an advanced copy for review to my work address :).

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