In the short time they’ve been together, True Womanhood has had the opportunity to perform both in and outside of their home city with national acts such as HEALTH; A Place to Bury Strangers; Times New Viking; Crystal Antlers; The Babies; Titus Andronicus; Beach Fossils; Indian Jewelry; The Mae Shi; AIDS Wolf; etc.
The trio has emerged out of the doldrums of post-Dischord Washington, D.C. with a collection of haunting pop gems that are surprisingly mature given the band’s youthful exuberance and predisposition towards experimental music. Their debut EP, Basement Membranes, on the Baltimore label Environmental Aesthetics, was recorded mainly at the DIY venue and effects pedal factory Death By Audio in Brooklyn, before the finishing touches were applied with the help of J. Robbins (Jawbox) at his studio in Baltimore.
Four-foot industrial blades hanging like chimes. A disassembled church organ rigged with wires running into a computer. As much art installation as rock concert, the most conventional things on True Womanhood’s stage are the timpani drums. And these homemade instruments are not mere sonic curiosities but integral parts of the band’s tightly crafted, inventive songwriting. Grounded on friendships going back to middle school, band members Thomas Redmond, Melissa Beattie and Noam Elsner play in an instinctual style that is sonically and emotionally loud.
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