The Nuns
The Nuns

THE REVIEW

Being pioneers, rams, tools for breaking through resistance: I haven't really given it much thought, but being the first in a movement or a trend, even being trailblazers, often means paving the way for others who will have a much greater chance of success. As a matter of fact, it cannot be said that the Nuns, the first punk band in the San Francisco area, were the most acclaimed group of their time in that specific region of the world, despite the unforgettable appeal of their leader Jennifer Miro.

Formed in 1975, they debuted with an album that often mixes elements of punk77 with more proto-gothic atmospheres. The keyboards of Miro significantly elevate the tracks: Jenni the blonde enriches the more standard punk tracks and gives gothic or dark tones to several songs, starting with those she performs: in the initial "Savage," her voice is that of a priestess, and the taste for gothic emerges clearly. It must be said that, following Miro's inclinations, the band, which to this day tends to reunite amidst countless lineup changes, has decisively shifted towards gothic rock, abandoning the rhythms of their beginnings. Therefore, what remains is a softened dark-wave for "You Think You're The Best," which would be just a simple tune if not for the keyboards and Miro's rock star performance. Jennifer is fully immersed in the music scene of her time, but it is evident she had more tricks up her sleeve.

Nonetheless, the episodes of strong punk, meaning the rest of the album, are good. Here Miro confines herself to keyboards and backing vocals, allowing herself to duet only in "Walkin' The Beat": instantly, wherever she sings, the song steps up, and when she's not on the mic, it falls flat. However, this is not a bad thing: the Nuns' punk, although not highly original, is raw, fierce, muscular, inflamed. "Child Molester" is lethal; "Wild" is a spectacular ride; "Media Control," "Confused," and "Getting Straight" are good. And "World War III" is a spit in the face.

It’s a pretty solid record, perfect for punk and new wave lovers, with its only drawbacks being a clear derivativeness in the structure of the punk tracks (the rhythm section is powerful, though, and the musicians really know what they’re doing) and certain ostentatious ambitions of Jennifer Miro, who, besides being muse, femme fatale, and reincarnated goddess, also tries to play Marlene Dietrich (in "Lazy") and seems ready to be punk's Nico, then become Cleopatra, the Mona Lisa, the warrior princess, and so forth. And it’s intriguing why many bands where the most charismatic figure is an attractive vocalist often end up with them encountering the most predictable clichés of the collective imagination.

When will they stop being the Muses, the Warriors, the Divine, the Priestesses of rock? I don't know, but when they do, probably their careers, in terms of success and longevity, will benefit from it.