This is a reprint of my guest column for Short Fast + Loud #11, aka the "women issue," reprinted as it ran. Thanks again to Jeb Branin for asking me to guest-write! Lots of out-of-date info here - half the bands have new records, Arsen broke up, Hiretsukan got back together - I was going to make corrections, but that way madness lies. Pretend it's 2003.

As soon as I learned that the theme this issue was going to be "women in extreme music" I started thinking about "lending" my column to a woman writer. Not because I don't like women in extreme music (anyone who knows me, knows that isn't true) or not because I couldn't think of any women in extreme music, but because it somehow seemed to make sense and heaven knows it is about time that I did something that made sense. As I thought about whom to ask to do the column, I kept coming back to Hannah of the stellar online tome Blood Sisters, a website dedicated to this very thing. She agreed, and the end result is a much better column than you would have gotten from me.
                                                                                        -Jeb

When Jeb asked me to guest-write his column for this issue of Short Fast + Loud, I was so excited I didn't know where to start – a history of women in metal? Reviews of all the newest best heavy records with women on em? I was driving myself crazy with ideas when Jeb suggested a little primer. It seemed a logical place to begin, the beginning, so here we go – a highly subjective list of important and interesting metal bands with women, plus a handful of short lists for other heavy sub-genres. This should at least get you started.                                                                                                                                 -Hannah

THE METAL

Acrid
Burlington, Ontario, Canada, late 1990's-
Slow parts like the impending apocalypse, fast parts like the whole world going up in flames. Ripping, noisy, technical, crazy chaotic and blindingly intense. If you ask me (and you did!), Eighty-Sixed (Dirty Kidz 1997) is one of the best metal albums ever made. Alexandra Lamoureaux, bass.

Acrostichon
Tilburg, Holland, late 1980's-mid-1990's
Unfairly obscure Dutch death metal. Corinne van de Brand contributed fearsome basslines and subterranean low-end vocals. Forget "she sounds like a guy" – she sounds like an ogre, or an avalanche. Try Engraved in Black (Modern Primitive, 1992).

Amber Asylum
San Francisco, California, 1995?-
Okay, so Amber Asylum aren't strictly a metal band. But they're unquestionably part of the SF metal scene – vocalist/guitarist/violinist Kris Force has done a lot of playing with Neurosis, they share a bassist (Erica Stolz) with less-ambiguously-metal Lost Goat, and their version of Black Sabbath's "Black Sabbath" (on The Supernatural Parlor Collection (Release 2000)) will scare the pants off you. A good starting point for investigating all things dark and creepy around the bay.

Arch Enemy
Sweden/Germany, mid-1990's-
Probably the biggest women-in-metal band around these days, but don't let their sales figures (their newest, Anthems of Rebellion, is already the biggest-selling record in Century Media's history only four weeks after its release) and pedigree (ex-members of Carcass, In Flames and Mercyful Fate) distract you from the music. Ridiculously catchy Swedish harmony guitars and Angela Gossow's ferocious growl ripping you into tiny pieces.

Bolt Thrower
Birmingham, UK, 1986-
Brit stalwarts – nine full-length records since 1986. They've slowed the pace a little bit since 1998, but their back catalog holds up great – In Battle There is No Law (Future Shock 1988) will scratch all your roleplaying-metal itches. Jo Bench, bass.

The Great Kat
New York, NY
Quite possibly the only female metal guitar wanker out there. Even if pyrotechnics aren't your style, it's useful to have one of Kat's "shred/classical" records around to settle those tedious girls-got-no-chops arguments. (Are you still having those? I hope not.) And if pyrotechnics are your bag, anything from the Great Kat discography will make you cream your pants. I like Beethoven on Speed (1996), myself.

Hammers of Misfortune
San Francisco bay area, California, 1996-
All the dross of the metal genre – concept records, singing about axes and quests and shit, pointy-shouldered leather jumpsuits – alchemically transformed into pure epic galloping sword-swinging gold. Founding bassist/singer Janis Tanaka (of the jumpsuit) took off to play bass for P!nk and Fireball Ministry after the first Hammers record, The Bastard (Tumult 2001). Jamie Myers (Like Flies on Flesh, South Mouth) now holds down the low end and Sigrid Sheie (Menstrual Tramps) plays keyboards and sings. The Bastard ruled all hell and, though I haven't heard it yet, I'm betting The August Engine (Cruz del Sur/Tumult 2003) does too.

Kittie
somewhere in Canada, 1998?-
It's really too bad this band got so much hype for a mediocre first record – hot damn, teenage girls get mad sometimes! who knew? – cos now nobody is paying attention anymore and they've gotten way more interesting. Oracle (2001) sounds like they went back into the garage to listen to Sepultura and Slayer and practice a lot before they went into the studio. Current lineup – Morgan: vocals/guitar, Mercedes: drums, Jennifer: bass.

Ludicra
San Francisco bay area, California, circa 2000
Take the lousy keyboards, overblown intros and (faux) nordicism out of black metal, add some unhinged screams and genuine menace, and you have Ludicra – a band which manages to both have a sense of humor and to be truly frightening at the same time. Laurie Sue provides the unhinged screams, Christy plays guitar and sings now and then. Hollow Psalms (Life is Abuse 2002) is their only full-length to date – listen and see if the scream at the beginning of "Userpent" doesn't make the blood freeze in your veins.

The Need
Olympia, Washington, 1996-2001
The Need are culturally a lot more indie rock than metal – records on Kill Rock Stars, Chainsaw and Mr. Lady and a mailing address in Olympia. But as with Karp and the Mukilteo Fairies (featuring female guitarist Rebecca!) before them, metal hearts beat underneath The Need's striped t-shirts and v-neck sweaters (at least on their last records). They have occasional help from Joe Preston (Earth, Melvins, Thrones) on bass, and anybody who likes JP's own heavy weirdness will please dig their Metallica cover ("Frayed Ends of Sanity") or anything off The Need is Dead (Chainsaw 2000) and be amazed at what noise can be made by only two people. Rachel: vocals and drums, Radio: guitar.

13 / Sour Vein
New York, NY, 1990-1995? / New Orleans, Louisiana, 1998-
13: three women, a handful of 7"s and about 10 bpm – hhhhhhhhhheavy as hell sludgy doom. Rumor has Riotous Assembly putting out a 13 discography CD (is this still happening?), but until then, scour the used bins for their split with Grief. Alicia Non Grata: vocals, Liz: guitar, Ellen: drums. Liz can now be found playing guitar with the slightly-faster Sour Vein, whose self-titled LP (Game Two 2002) kicked my ass (slowly) all over last year.

THE ROOTS

Fanny
Early/mid-1970's British hard rock/proto-metal. Arguably the first all-female heavy band. They put out a clutch of LPs on Reprise between 1970 and 1975.
Girlschool
Sorta poppy, sorta glammy British metal, 1978-1988. Rad split EP with Motorhead (as Headgirl). All female. (To this day I find myself playing my Girlschool Records. Very catchy, very fun. They lost their edge a bit when their labels decided to help them break into the U.S. market with the "Play Dirty" and "Running Wild" records, but their three records before 1983 are all masterful – Jeb)
Holy Moses
Ferocious German thrash (1984-1992, 2001-?) with rough tough vocals from Sabine Classen. Try the Queen of Siam LP (Aaarrg 1986).
Warlock/Doro Pesch
More ferocious German thrash, this time with anthemic fist-pumping clean vocals. Punch the air and sing along to "All We Are," from Triumph & Agony (1987).

HARDCORE

Circus Lupus
Angular DC hardcore with occasional metal guitar runs and a rare female drummer (Arika Casebolt). Try either full-length – Super Genius (Dischord 1992) or Solid Brass (Dischord 1993).
Doughnuts
All-female Swedish sXe hardcore, mid-late 1990's. Feel Me Bleed (1995) might've been the last good record to come out on Victory.
The Wage of Sin
All-female NYC metalcore – proves that sXe hardcore can be ferocious without the bullshit macho posturing. Try A Product of Deceit and Loneliness (Immigrant Sun 2002). Guitarist Rachel also plays/played in Most Precious Blood, Milhouse and Indecision.
Walls of Jericho
Chugging toughguy metalcore band with one of the roughest rawest screams in hardcore (Candace Kucsulain). 1998-2001, reformed sometime in 2003. There are rumors of a new record, but until then, have a listen to The Bound Feed the Gagged (Trustkill 1999) and hold onto your face.

METALCORE/GRIND/CRUST

Arsen aka König der Monster
Relatively new German band – kinda speedy, kinda crusty, very German-metalcore. Rrrrad. Try their new full-length No Gods... Only Monsters (Unsociable/Narshardaa/Black Star Foundation 2003). Sabine: vocals.
Countdown to Oblivion
Heavy hardcore with Slayer guitars, a sense of humor (dig the mutual razzing on their split 7" with They Live (Ugly Pop 2000)), and girls on guitar and bass. They didn't last long (1998-2000), but lo, their star burned brightly. Particularly on the Brain Surgery for Beginners 7" (Deranged 2000).
Hiretsukan
Crazy chaotic metallic hardcore with something creepy and off about the chord progressions (but in a really good way). The Invasive/Exotic EP (G7 Welcoming Committee 2002) is almost their entire recorded output. O Hiretsukan, we hardly knew ye! Fuck. Michelle: vocals.
Remains of the Day
Big and tragic and occasionally crusty-ish metalcore from Portland with some serious His Hero is Gone, Amebix and/or Neurosis moments. An Underlying Frequency (Crimes Against Humanity/Yellow Dog 2001) is their only record to date. Rachel: violin.
Scrotum Grinder
Super good lurching grindy metalcore with vague emoey touches, by which I mean it has eloquent lyrics and real passion. And nice packaging. Do have a listen to Greatest Sonic Abomination Ever (Prank 2001). Michelle Koger: vocals.

STONER ROCK/SLUDGE

Acid King
Catchy, lumbering riffage from San Francisco, Lori Crover (aka Lori S) on guitar and vocals. My favorite is Busse Woods (Man's Ruin 1999).
The Melvins
The rumors are true - the storied Lorax (bass 1988-1993) was indeed a woman. Shirley Temple's daughter, even. The world is odd.

THRASH

The Gaia
Genius all-female Japanese thrashers – and actually, you should check out everybody else on the amazing Women's Liberation (Selfish 1994) comp as well. Piss, Gush and Wormcast are the rest.
Yellow Machinegun
Rapidfire catchy thrash about conservation, breakfast foods and growing a tail. Spot Remover (Rotten Orange/Howling Bull 1998) is a beautiful beautiful thing. Does anybody know what happened to this band?

DIFFICULT-TO-PIGEONHOLE HEAVINESS

The Haggard
Two-woman hardcore/grind/emo/punk band from Portland. Emily plays guitar, sts beats the drums like they were John Ashcroft's face, and they both scream blue murder. Both their Mr. Lady LPs (A Bike City Called Greasy, 2000, and No Future, 2001) are great.
I Love a Parade
Their ex-members-of list is pretty impressive (Reina Aveja and His Hero is Gone, among others), but Jen's seemingly effortless fearsome scream is even more so. No records yet, but keep your eyes out.
Last of the Juanitas
Indie metal, somewhere between the Champs and Don Caballero and the Jesus Lizard. Nobody in the world seems to love LotJ like I do, but I have to keep spreading the word. Hawaii (Flapping Jet circa 2000) and make sure you have a good listen to "Lighten Up, Francis."
Melt-Banana
Tight, sharp, funny, fierce, beloved by grindheads and metalheads and college radio hipsters alike. As Manowar says, if you're not into Melt-Banana, then you are not my friend. Start with Charlie (A-Zap 1998) or the new one. Yasuko: vocals, Rika: bass.
Romantic Gorilla
Kinda-hardcore, kinda-metal, inspired lunacy sung in an acrobatic scream-growl. Gorilla masks ahoy! Gori: vocals, Akiko: guitar, Shizu: bass. Dig the self-titled LP (Sound Pollution/MCR 1998) or the split with Spazz (Sound Pollution/MCR 1996).

I don't pretend these lists are definitive (maybe you notice the lack of symphonic and black metal bands with female keyboards and/or sopranos? just ain't my… area of expertise) but they should get you started, anyway.

And yikes, there were so many other bands I wanted to mention! Some have gotten a lot of words in SF+L recently so I figure you already know about them, and most I just ran out of time and space for. If – or when – you get through everything else on this list and still want more, please run out and buy every record you can find from Antischism, Bloodpact, Damad, Fuck the Facts, .fuckingcom, The Gits, Harum Scarum, The Index, Initial State, Kill the Man Who Questions, Lesser of Two, Kylesa, Nausea, Sicarii, Society Gang Rape, Voetsek....

If you want to clue me into somebody amazing, yell at me for forgetting your favorites, start a band, or just talk about music, please drop me a line – hannah@ravenousplankton.com.

Thanks: Jeb for the space, SF+L for ruling the universe, and Mike, Elliott, Bill C, Ragnar, Queenie and KZSU 90.1fm for help with the lists.