Published on Mar 26, 1997
Some people who are regular readers of this site may think I’m
permanently stuck in the past – I tend to focus on older albums and
established artists. Some may say I don’t ever step out on a limb
and try new artists.
But I do surf the Internet often for information on new bands –
which is where I first heard about Sexpod. Their bio intrigued me –
if these women were as powerful on disc as the bio suggested, I was
in for an evening of slamming my head against the drywall of the
apartment. A couple of “oh, please, oh, please” e-mail messages to
the label, and I soon had my new toy –
Goddess Blues, their debut release.
For sure, Karyn Kuhl and crew are talented musicians – in case
the stereotype still exists about “girl groups,” put it to the side
and smash it with a sledgehammer. And while the performances are
good, Sexpod falls into the same trap almost every new band falls
into early into their careers – the songwriting needs a coat of
paint or two.
The trio is led by Kuhl, whose vocals seem to be a cross between
Ann Wilson and Chryssie Hynde. Bassist Alice Genese is fluid at her
instrument, but I almost wish she got a little funkier on it – her
playing seems a bit restrained. And drummer Tia Sprocket turns in a
solid performance behind the trap kit. So far, so good.
The title track opens with some teaser starts, but when the song
finally kicks in, the track quickly gains a funky groove. Though
the false stops near the end of the song are a bit distracting, the
song has some very solid moments.
The album continues on a positive note with the next two songs,
“Impenetrable” and “Foot On The Gas.” The trio settles back with
some well-written songs and intriguing lyrics which hook the
listener upon the first listen.
“Go” is a slight step backward, though not due to Sexpod’s
performance. It’s a little disappointing that Kuhl didn’t develop
the song’s lyrics a bit further – I tended to get tired of hearing
the phrase “you gotta go” pretty quickly. The performances revive
my interest in the song; Kuhl’s combination of rhythm and lead
playing during the chorus is reminiscent of the Red Hot Chili
Peppers.
Maybe this is one thing that let me down with Sexpod, something
which is not their fault. A power trio tends to restrict a band’s
performance a bit, because you don’t have a second guitar to fill
in the rhythm. So often I wanted to hear Kuhl break forth with a
hot solo – the closest they get to this is the closing track
“Waterfall,” where Kuhl is allowed to freeform on the guitar as the
band quiets down behind her.
Maybe I’m sounding too cynical; there are some excellent cuts on
Goddess Blues. Besides the previously mentioned tracks,
“Delicate Balance,” “Emily” and “Black In Bloom” stand out in the
crowd. These are the songs that show the band is able to live up to
the hype of their bio. Others, like “Drunk In A Dress” and “Dirty
Girl,” fall short of the mark.
Don’t get me wrong, Sexpod is one of the better female bands
I’ve heard – I personally think they blow bands like L7 away. And
given some time and road experience (as well as some more time
together), Sexpod will have a very exciting career ahead of them.
Goddess Blues is a valiant first effort, but is cries out
often for what could have been. Still, this is an album that leaves
no doubt Sexpod will be a force to deal with in the future.