Rock 'n' Roll 'n' Blues Women!

SATE - Dirty Little Lie (Official Video)



SATE

SATE is the stage name of Saidah Baba Talibah Matthews, a Canadian rock singer from Toronto, Ontario.^[1] Her 2021 album The Fool was named a Juno Award nominee for Alternative Album of the Year at the Juno Awards of 2022.^[2]

The daughter of influential Canadian blues and jazz singer Salome Bey,^[3] she began her musical career as an occasional performer with her mother under the name Salome Bey and the Relatives.^[4] She was a vocalist with the funk rock band Blaxäm in the 1990s, alongside her sister Tuku and Washington Savage of Infidels.^[5] The band released the EP Kiss My Afro in 1998,^[6] but broke up before releasing a full-length album.^[7]

 

As Saidah Baba Talibah, she continued to perform as a solo artist,^[8] and released her debut solo album (S)cream in 2011.^[9] In this era, she described herself as having been inspired in part by Black Rock Coalition artists such as Living Colour.^[10]
In 2014, she performed at Toronto's Luminato Festival with TV on the Radio.^[11]
She subsequently changed her stage name to SATE, on the grounds that performing under her given names was giving audiences a false impression that they would be seeing a world music artist, when in fact her music blends elements of soul and funk with blues rock and punk rock.^[12] As SATE, she released the album RedBlack&Blue in 2016;^[13] the album's track "Know My Name" has been used as backing music in promotional advertisements for Sportsnet.^[14]

The Fool was released in 2021.^[14] Her video for the song "Nobody" features The OBGMs appearing as her backing band;^[14] the album track "Guardian Angel", a short interlude, is a recording of SATE as a child singing along with her mother, which Saidah found in her mother's possessions only after her death in 2020.^[12] MORE

The Eagle Flies Alone - Arch Enemy with Angela Gossow



Interview with Angela Gossow

WM: How did you first get in touch with Rock and Metal and who were the first bands that influenced you to create your singing style?

Angela Gossow : I discovered Metal through a British radio station when I was about 15 years old. They played a lot of Thrash and Deathmetal. I got hooked on Metallica, Slayer, Death, Carcass, Napalm Death, Entombed, Morbid Angel… When I started singing in that style these were the bands that influenced me most.

Wikimetal: Arch Enemy has a very unique sound, how would you describe your music to someone who had never heard the band? Is there a way to label the sound of Arch Enemy?

AG: We play Extreme Metal. We mash up elements of Thrash, Death, Speed, Prog, Melodic and Classic Metal. We work with a broad range of influences. This is why our sound is very distinctive and pretty unique.MORE

Angela Gossow on Wiki Content note, mentions of eating disorders.

Angela Gossow was born to Orthodox Christian parents in Cologne, Germany, and had three siblings. She was 17 when her parents divorced. Further financial troubles came in when their business went bankrupt. Being anorexic and bulimic further added to her woes.^[1] It was at this time that she decided to move out of home and join the metal band Asmodina. After graduation she joined an advertising company as a trainee, specializing in marketing. She simultaneously began studying economics. In 1997, the band Asmodina split and Gossow formed another band: Mistress.

Gossow is one of the first among a small number of women to front as a death metal vocalist. She has a mezzo-soprano vocal range, with a death growl.^[2] She uses false cord screams.^[3] Her main influences are Jeff Walker of Carcass, David Vincent of Morbid Angel, Chuck Billy of Testament, John Tardy of Obituary, Chuck Schuldiner of Death, Dave Mustaine of Megadeth, and Rob Halford of Judas Priest.^[4]

Gossow joined Arch Enemy in November 2000, after the removal of lead singer Johan Liiva.^[5] She had previously interviewed guitarist Michael Amott for a German webzine. While interviewing Amott, Gossow gave him a demo that she described as a "poor quality" video of a performance at a club. After firing Liiva in 2000, the band called in Gossow for an audition. Amott later said that "she wiped the floor with all the other contenders." She then proceeded to record Wages of Sin with Arch Enemy.
On the eve of a 2002 tour, Gossow was diagnosed with nodules, which almost stopped her from growling. However, after some vocal therapy, she was able to recover her voice and she proceeded to begin taking piano and screaming lessons from renowned coach Melissa Cross. She continues to work in close conjunction with her.
On 17 March 2014, it was announced that Gossow was stepping down as Arch Enemy vocalist in order to pursue other interests and spend more time with her family. Gossow recommended Alissa White-Gluz from Canadian metal band The Agonist as her replacement, and will remain business manager for the band.^[6]MORE

The World Is Yours - Arch Enemy with the new vocalist Alissa White-Gluz



INTERVIEW: Alissa White-Gluz – Arch Enemy

Alissa: I didn’t really make an intentional goal of being a frontperson of a metal band but I always had a very loud voice, I would even get into trouble at school for being really loud! I was a really good student but my voice just projects so I always had this really loud voice, I was always pretty fearless when it came to anything and I still am I guess. I grew up in a house where my Mom, my Dad, my older sister and I have a younger brother too but he was younger than me but he was just a little baby when I was growing up and these are all music lovers and my sister actually is also a frontperson in a touring band and so we have this great respect and appreciation for music. My Mom has vinyls on the wall of Jimi Hendrix and David Bowie, Janet Joplin, Nirvana, Eric Clapton, The Who, Deep Purple, just all sorts of really cool music influences. MORE

Alissa White-Gluz

Alissa White-Gluz (/əˈliːsə ˈɡlʌz/;^[2]) (born 31 July 1985) is a Canadian vocalist, best known as the lead vocalist of the Swedish melodic death metal band Arch Enemy,^[3] and former lead vocalist and founding member of the Canadian metalcore band the Agonist.^[4] Her vocal style includes both growling and clean vocals (singing).^[5] Although primarily associated with melodic death metal and metalcore, she has appeared as a guest vocalist for power metal, symphonic metal and deathcore bands, notably Kamelot, Delain and Carnifex and has performed live with Nightwish and Tarja Turunen.
...
White-Gluz was born in Montreal, Quebec, Canada, as the second of three children.^[6][7] Her grandparents were prisoners in concentration camps during World War II and managed to escape. Their experiences in the camps would go on to inspire the Arch Enemy song, "First Day in Hell".^[8]MORE

Former Prince guitarist Donna Grantis debuts genre-bending band in Minneapolis

After Prince’s death last year, 3rdEyeGirl guitarist Donna Grantis and her music executive husband, Trevor Guy, had to decide where to live. They ruled out a return to their hometown of Toronto. They tried Los Angeles for a while and even tested New York City for two weeks.

They ended up in Minneapolis, choosing the Uptown neighborhood last fall after a few years in Chanhassen. Now they have a 5-month-old boy and a new band, simply called Donna Grantis, which will make its debut Friday at Minneapolis’ Dakota Jazz Club — the same venue where 3rdEyeGirl gave its first performance.

Over dinner at an Uptown restaurant last week, Grantis talked about her new band, her influences and, of course, Prince. She’s still sporting her long brown hair with the left side of her head shaved, but her makeup and clothes are less flamboyant than in the 3rdEyeGirl days.

MORE

The Dears - Lost in The Plot


Natalia Yanchak is been with The Dears since 1998 and she plays the keyboard. She's the only woman left in the the revolving door lineup, which is kind of a shame but hey. Also, she's the wife of frontman Murray Lightburn. Here's her blog, Twitter Facebook and a couple of interviews: 1. A Conversation with Natalia Yanchak from The Dears (Sorry dears, its an audio interview and there is no transcript. Would someone have the time and ability to maybe put one up?)

2. Never Destroy Us: An Interview with Natalia Yanchak of the Dears

Natalia Yanchak is not just some woman in a band. She joined the Dears back in their beginning stages as the keyboard player, but also as an organizer and visionary. Her vocals add a sweetness to the strong, warm baritone of frontman Murray Lightburn along with a raison d’être for the romantic yearnings that are a hallmark of so many of their songs. They are now married with a young daughter, and the band is as strong as ever. The new release, Degeneration Street, was performed start to finish in a few live gigs last fall, and the group onstage looked like it was having a blast. Before heading out on tour again, Yanchak chatted over the phone from her home in Montreal to update PopMatters.



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When exactly did you join the band and tell me about those early days with the Dears?



I joined the band officially in 1997 or 1998. I had met Murray [Lightburn] at a bar—I was DJing at a local haunt in Montreal, the infamous Biftek, which [is] overrun by students now although it was back then also. That’s what they call a steak in French, biftek, but it’s not a restaurant so I don’t know why it’s called that. Murray had come in and he sat at the bar and for some reason he just poured his heart out to me. It wasn’t like it was love at first sight, I was kind of like “Oh, poor guy”. We had some mutual friends who introduced me to the Dears and to Murray so I went to see them play a show at this hole-in-wall kind of place called the Barfly. They were looking for a keyboard player but after I saw them I was totally skeptical. I was like, “It’s going to be terrible.” But it was amazing—I thought it was great.

So then I joined the band, and I was the more pragmatic one to Murray’s creative force. I was the one who said, “So… we have to put out a record. We have to have band photos. We have to play shows. We have to do this.” I also had a radio show at the local college [McGill University], co-hosting this all-Canadian rock show. I was listening to a lot of music, writing record reviews for Vice and other local stuff. I was very immersed in that other side of the music industry that a musician might not think is very important, especially when they’re just getting it together. So I sort of brought that angle to the band.



Was keyboard always your instrument?



That was definitely the instrument I felt most comfortable playing. I’d been playing organ in some other bands around town. When I was much younger I took Suzuki violin lessons—I learned how to play the recorder and then I took piano lessons as I got older. In my teen years I picked up the acoustic guitar and did some of my own DIY 4-track recordings. I had this friend that lent me this Arp AXXE synth, my first analog synth I ever used. It’s such a pure analog synth, really the basic building block of what an analog synth is, so it was fun for me as a teen to mess around with that.



Going back to the band, the group almost called it quits after your third CD. How did things come back together?



We had recorded our first CD, End of a Hollywood Story, which came out in Canada in 2000 and then we recorded No Cities Left, which came out in Canada 2003. It didn’t come out in the rest of world until later. There were a couple years of us just focusing on Canada. So it was a really long time between those two albums. There was a lot of touring and people getting to an age where maybe being in a rock band isn’t what they want to do for the rest of their life, which is totally fine. You can’t make anyone do what they don’t want to do. Murray and I were faced with the question of “What are we going to do? What should we do?” Definitely the question was asked, “Should the band be over?”



For me, it was really a realization of how I’d been playing this role in the Dears since 1997 so it predates all these people who have come and gone. That’s always been the tradition of the Dears. It’s always been about capturing the essence of the Dears, not about the individual ego of each person. For me it was a soul-searching period while we were making Missiles [from 2008], about who I am and who I am in the Dears and what the Dears is and what it means. I kind of realized, it’s not about me and it’s not about the people that are leaving the band but it’s about this amorphous entity that is the Dears. It’s also about connecting with people in so many different ways—emotionally, spiritually, or however the music connects with people. That was more important than any of the personal bullshit that might be going down. That realization, which is going to come off as sounding so extremely pretentious but whatever, is how the Dears are bigger than me so therefore the Dears must continue. It must carry on.MORE

She's just released a story, her debut writing effort I believe: The Dears' Natalia Yanchak Releases 'Final Fridays' Story Inspired by 'The Office'

Yanchak always wanted to be a wordsmith, but that desire was dampened as a Concordia University creative writing class "basically destroyed" the urge for about a decade. A little while ago after gathering up some ideas, she took action. And while Yanchak quickly points out "it's not science fiction" in the traditional sense, there is some science to it.

"I take it as a learning experience where I have to research these scientific concepts or astrophysical formulas and stuff like that," she says. "Stuff that I don't really know anything about even though I was in enriched math in high-school. I really enjoy that exploration."

Recent blog posts show she's putting the pen to paper, or fingertips to keyboard, rather.

Yanchak recently submitted a piece into an environmental-themed writing contest hosted by io9, a website primarily geared towards science fiction writing. "They were trying to encourage people in that a lot of policy can come from this creative thinking, real life policies coming from people with fantastic ideas and trying to solve them even though it's fiction," she says. "So that inspired me to write this longer story."

As for her first public piece, Yanchak described it on her blog as a cross between 'The Office' TV show ("the U.S. version," she says) -- and the novel 'Hitchhiker's Guide to the Galaxy.' It seems she's at a loss for how else to describe the piece, which is entitled 'Final Fridays' and concerns a robot, an office worker named Elton Barnes and draconian coffee workplace regulations.MORE

The Dears - Blood (Live in Mexico City)

The video that brought the Canadian band now known as You Say Party to my attention was a gorgeous scifi story set in India named "Lonely's Lunch", via plazmah

YOU SAY PARTY 'Lonely's Lunch' [OFFICIAL VIDEO]


Excited as all hell, I prompted went looking for them, under the erroneous assumption that There were chromatic members of the band. There aren't any, but their music is pretty good, and for most of the bands life, there were at least two women therein! So settle down and let me tell link you to the music of a band that started out being called You Say Party, We Say Die

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Bif Naked - "I Love Myself Today" Her Royal Majesty's Records (Thats her label)



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She's been in one band Subject to Change with one album Womb Amnesia 1993 Unfortunately, as the article points out, the album was scrapped due to internal label issues and tracks are rare.

The song Soul Sister was apparently originally from that album.



She also released a solo production,"Street Faerie" which didn't do too well, but I love it anyway.

Saviour Self - Cree Summer


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WARNING: Possibly disturbing images.


The Birthday Massacre - In the Dark




All time favourite song by them?


The Birthday Massacre - Happy Birthday


LOVE Chibi's vocals on this! Used to play that a LOT on my way to school:) The perfect song to start the day! (And their album covers are fun!)

The Birthday Massacre Website

Myspace