Subtonix
Tarantism

Once upon a time (and forever will be) there was a Californian band named Subtonix, hailing from San Francisco and composed exclusively of women. Originally formed by Jessy Panic and Cookie Tuff, respectively bassist and drummer but, above all, the main singers of Subtonix, the group has undergone various and possible line-up changes over time. Reconstructing them now in detail would be neither useful nor important. I just want to emphasize that Jessie Evans (later the creator of The Vanishing), known at the time as Jessie Trashed, was also part of Subtonix. I believe that she, bassist, singer (alongside Jessy Panic and Cookie Tuff), and above all saxophonist, was an indispensable element of the group. In fact, besides the all-female formation, what adds a fresh note to the death rock, inherently original and innovative, that the Subtonix propose is precisely the use of the saxophone. There are no equals, nor possible comparisons with other forms of existence of American and international death rock, present or past.

Unlike what happens with certain artists who, in moving from one group to another, carry with them, almost like a trail, a mood and a style that easily reconnects them to what has already been done before, the contribution made by Jessie Evans to Subtonix does not foreshadow what will happen shortly with The Vanishing, where the saxophone lines still play a structural role. The styles of the two bands are, in fact, decidedly different and proposing a bizarre comparison would be risky. While, for Subtonix, death rock reigns supreme, the punk offered by The Vanishing is enriched with synth-pop and new wave inserts. After giving us, in 2002, a wonderful full-length album, the subject of this review, and a handful of singles and EPs (in 2001 the split with Glass Candy And The Shattered Theatre, in 2002 the singles “Too Cool For School” and “Subtonix”), the Subtonix seem to have disappeared into thin air: perhaps they broke up, perhaps they simply no longer feel like playing, perhaps... whatever happened, fortunately, they have left us very interesting and clearly quality works.

Let's move on, then, to the review of the album “Tarantism”, released in 2002 with the New Jersey label Troubleman Unlimited. The lyrics of the various tracks are sinister and unsettling, just like the look of the Subtonix who, during live performances, appeared dressed as nurses/beauty queens, entirely covered in blood (I recommend searching for the few remaining photos of their concerts on Google, because even in their look they showed a good dose of originality and healthy enterprise). To get into the right mood, savoring the first saxophone blasts, the album opens with the engaging and swirling “Into The Fire” and, sliding into “Dropout”, we reach one of the most successful and impactful pieces of this work, namely the beautiful “Black Nails In My Coffin”, one of the few tracks not accompanied by the famous saxophone lines. Since Subtonix are serious business, the subsequent “Ashtray Girl”, with its agitated and disturbing rhythm, is a track that truly leaves no one indifferent, taking one's breath away. Just to catch your breath for a moment (not even that much!), the next “My Favorite Way To Die” seems to be less frenetic... but things are never what they seem and the track reveals a progressively restless soul, which converges with an unexpected countertime, leading the listener towards the exit door of this sonic room, in the direction of the next adventure. We are then catapulted into the sixth track, “Throwing Rocks In The Sewer”, whose rhythm grows and increases with listening. We are facing another captivating, certainly successful track.

The rollercoaster sound journey that this album represents, between slowing moments and accelerating parts, continues swiftly with “In Theatres” and reveals itself, albeit with a little less vehemence, even in “Berlin 1930”. Here we are, then, arriving at “X-Rated”, the penultimate grace: a fast and penetrating track, like a bullet just fired, which makes us anticipate a finale with a bang. The album, in fact, closes masterfully with a very successful cover of “Vertigo” by The Screamers. Arrived at the end of the ride, even though the ride has just ended, we are already ready to ride, once again, the notes of this first, yet already sublime, work of the great Subtonix.

Tracklist:

01 Into The Fire

02 Dropout

03 Black Nails In My Coffin

04 Ashtray Girl

05 My Favorite Way To Die

06 Throwing Rocks In The Sewer

07 In Theatres

08 Berlin 1930

09 X-Rated

10 Vertigo