Chastity Belt on Bro-Trolling and Growing Up (Sort Of)

Chastity Belt

All photos by Chona Kasinger

Every band begins with a mission. Some yearn for fame, others for fortune; many are just looking for a way to pay the bills, and a few want to make art for art’s sake. The Seattle band Chastity Belt also grew from a shared purpose; the quartet came together when they were sophomores at Whitman College, in neighboring Walla Walla. The catalyst? An intense desire, fueled largely by pure boredom, to troll Beta Theta Pi, one of four fraternities on campus.

It was 2010, bandleader Julia Shapiro tells me over the phone, and the brothers’ annual “Battle of the Bands”—a bacchanal dominated by Axe, weed, and body odor—was fast approaching. As such, the ladies—Shapiro (guitar, vocals), Lydia Lund (guitar), Annie Truscott (bass), and Gretchen Grimm (drums)—figured it’d be pretty damn funny to invite all their friends, storm the dudebros’ fortress, and hopefully, come out on top.

A short while later, Chastity Belt hit the stage for their first-ever performance, dressed as punks, faces smeared with garish makeup (“I was wearing so much red eyeliner it looked like my eyes were bleeding,” Shapiro recalls). They performed a single song: “Surrender,” a five-minute ode to angst, youth, “stealing your mom’s cigarettes, and wearing dark eyeliner.” To the band’s surprise, the mass of friends gathered to watch the set significantly outnumbered the Betas. Not that Chastity Belt needed to sway anyone; according to Shapiro, some of the group’s friends stole the voting slips intended for partygoers and stuffed the ballot boxes, rigging the competition in the band’s favor. “We didn’t really win anything,” Shapiro says, her deadpan voice dripping with mock disappointment.

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Perera Elsewhere Does What She Wants, And You Can’t Stop Her

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Photo by Hugo Holger Schneider.

Sasha Perera, aka Perera Elsewhere, always has one ear tilted toward the future. As the vocalist in the Berlin trio Jahcoozi, Perera and her bandmates made forward-thinking bass music before the polyglot dance music boom of the last decade began. She describes the music on her latest solo album, All Of This, as “doom folk,” teeming with dark pop, trip-hop, and R&B. Among other things, she sings about hopeful escapism (“Tomorrow South”), and the increasingly confounding idea that identity and corporate language—self-branding, as it were—are becoming one in the same (“All Of This”). Perera’s palette is global, but not just as a producer and artist—she’s an accomplished DJ and instructor as well.

When Perera spoke to us, she was in Abidjan for some DJ gigs following a trip to Burkina Faso. We talked about finding empowerment through technology, the best up-and-comers making club music, and the uncanny way a melancholy cover of 50 Cent’s “Candy Shop” ended up on her new album.

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Record Stores Labels Love

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From emporiums with vast caverns of dusty, disorganized stacks, to the slick, wooden-box shops, where carefully-curated bins of vinyl are perfectly positioned next to screen prints, the world has no shortage of diverse and amazing record shops. There are the miles of stacks at Amoeba (the California-based independently-run music chain), crates to dig through at flea markets the world over—even Myanmar, the former pariah state just now treading towards democracy, opened its first record store in the capital of Yangon. And there’s my favorite, The Thing in Brooklyn, where it sometimes feels as if the head of A&R for Def Jam has dumped 30 years worth of promo 12″s into a cramped junk shop.

With the recent flood of reissues and brand-new vinyl on sale at airports and Urban Outfitters, record stores can feel quaint—what was once a thrilling hunt for rare finds is now a few clicks away on Discogs. This isn’t a treatise on the vinyl revival, that’s been written before. This is a celebration of some of the finest purveyors on this planet, as selected by labels on Bandcamp, and paired with a recent release from each.

Ally-Jane Grossan 

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The Local Action Label Blurs the Borders Between Dance Genres

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Label head Tom Lea, photo by Vicky Grout.

Viewed from one perspective, the history of British dance music is a tale of genres. Jungle, grime, U.K. garage, dubstep—each one born and bred in the nation’s capital. Yet it’s notable how the key London labels of the last decade or so—the likes of Hyperdub and Night Slugs—have operated in the space between clear genre boundaries, giving equal attention to grime, techno, dub, and countless others. To that list, add Local Action.

Founded in 2010 by Tom Lea, Local Action emerged at a transitional point in U.K. dance music, just as dubstep was morphing from an underground London sound into a global mainstream soundtrack. At the time, Lea was working as the editor of FACT, the influential online music publication located in the basement of Phonica Records in London’s Soho. “One day I was sitting with my colleague Kiran [Sande] who now runs the label Blackest Ever Black and Simon Rigg, manager of Phonica approached us, like, ‘Why don’t you run a label for us?’” says Lea. But Sande had his own distinct vision for a label brewing, so Lea decided to go at it alone. With financial backing from Phonica, Local Action debuted with a volley of 12-inch records, from the likes of T. Williams and Throwing Snow, that sketched out a bumping, rhythmic dance floor sound with traces of distinctly British house, U.K. funky, and grime in its DNA.

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This Week’s Essential Releases: Coldwave, Avant-Folk and Indie Rock

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Welcome to Seven Essential Releases, our weekly roundup of the best music on Bandcamp. Each week, we’ll recommend six new albums, plus pick an older LP from the stacks that you may have missed.

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