THIS WOMAN IS SO FIERCE AND ROCKS SO HARD. CUNT ROCK FTW.
Flagitious Idiosyncrasy in the Dilapidation (F.I.D.), awesome Japanese ladies playing grindcore.
Live footage from the ‘94 UK video zine documentary “Getting Close To Nothing.”
Bikini Kill, Suck My Left One. Cunt rock, obviously
Lydia Lunch “Gloomy Sunday”
[Flash 9 is required to listen to audio.]
crass - poison in a pretty pill
Penis Envy by Crass is pretty cunt rockin’.
(Source: schweigend)
4 months ago - 
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PJ Harvey - White Chalk [2007]
The urban dictionary definition of Cunt Rock: Music, usually featuring acoustic guitars, written by women for women. Whilst music of this nature will probably be written about on this blog (at some point in the not yet foreseeable future) this isn’t exactly our personal definition.
We have started this blog with the intention of bringing beautiful Cunt Rock (and Cunt Punk, Cunt Metal, Cunt Industrial, Cunt Rap, Cunt Pop, Cunt EVERYTHING) artists into your lives! Music featuring one or more ladies, and highly enjoyable for ladies of all kinds.
For this text post, I am going to be taking a look at PJ Harvey’s 2007 album, White Chalk.
Above is the official video to Polly Jean Harvey’s single ‘When Under Ether’ from her 2007 album White Chalk.
In White Chalk Harvey moves away from the grungey guitar driven rock and low growling vocals of earlier records, experimenting for the first time on piano and singing in a higher register with a more ethereal quality than the warm resonant sound displayed in earlier records. Lyrically, Harvey continues with the dark, emotive themes she is well known for, yet the imagery painted has changed context - from the raw and powerful sexuality of songs such as Dress (Dry, 1992) and Rid Of Me (Rid Of Me, 1993), to a potent look at the vulnerability of the human psyche with songs such as in the childlike pleading of ‘Broken Harp’.
The record has a mournful, spooky feel to it, the music has a quaint folksy timbre, and the lyrics scream of loneliness and sorrow. Tracks such as ‘Grow Grow Grow’ and ‘To Talk To You’ are discomforting with their avant-garde eclecticism and achingly intimate shrieking vocals, whilst the more structured and slightly more upbeat ‘Dear Darkness’ and ‘Silence’ incorporate simple piano motifs with tender vocal melodies to immediately draw the listener in.
PJ’s switch from her earlier punk blues style to this more avant-folk sound is tentative and experimental, with the album sporting it’s weaker points, which, frankly, is to be expected from an inexperienced piano player writing piano ballads, but the raw unpolished feel of the songs is more than made up for with the sheer angsty passion and fantastic production of the record. I would highly recommend having a listen. GO NOW.
