Name: Lolita No. 18
Album: Sister Run Naked
Year: 1996
Style: Punk, Metal
Similar Bands: Die Kreuzen, Black Flag, Germs
"One Word" Review: Heavy Witch Punk
Based Out Of: Japan
Label: Benten
Sister Run Naked - Cover, Liner Art, CD Tray
Sister Run Naked - Back, CD, Liner Notes & Lyrics
Sister Run Naked (1996)- N.H.B.1:03
- Saloone 2:57
- Fortune Cards in Tibet 1:58
- Fool's Children 2:01
- I Am a King 2:16
- Shakin' All Over 2:22
- Chimney 2:40
- Snoopy (Hang On Sloopy) 3:31
- The First Gale in the Spring 2:25
- A Song Of a Girl Can't Wait 4:06
- Onodera-san 2:47
- hidden track 1:52
Album Rating (1-10): 6.5
Members & Other Bands:
Masay Ishizanka - Vox
Masay Ishizanka - Vox
Ena Arai - Guitar, Illustration
Mina Kimura - Bass
Aya Togawa - Drums
Sheri Lane - Organ , Accordian (The Horsies)
Bryan - T-12 MC
Elly Vasquez - Opening MC
Mike Vasquez - Recording, Mixing
Paul Stautinger - Recording
Wataru Ishii - Mastering @ Onkio Haus
Martin Ogisawa - Design
Shisaka Kimura - Photo
Unknown-ness: I've never heard of this band. Looks like cutsey girl pop from Japan, seeing as the CD spine and lyrics are all written in Japanese, I imagine high energy music, with three chord changes and catchy Ramones-like song structure. The artwork is very busy, possibly seizure inducing, but it fits the image.
Album Review: So they are the self-proclaimed biggest
Japanese all girl Punk band (second to Shonen Knife?). They released albums
from 1995 through 2001, with a reboot of the band with new performers in 2002,
and are still performing today (2015). Their 4th album was produced
by Joey Ramone, and was reportedly, the only Japanese band he produced. The
cartoonishly high voices oscillate between annoying and percussive. I really wanted to like this more, but it definitely is more metal than punk.
“N.H.B.” starts with a child-like voice,
and then pounding guitars are quickly introduced, breaking down briefly into a heavy
dark metal head bang, and picking back up with a driving two-pitch wall of
sound. And it ended with the childish Buh-Bye
“Saloone” is chanted by the cartoonish, raspy vocal in harmonized echo over and over until it hits the three chord power pop-punk hook. It’s basic, repetitive and drives home the melody. There was a brief breakdown before it returns to the initial chanting / harmonic chorus repetition. And they change it up slightly by singing the saloon chant in the round. The song slowly fades out, and leaves the singer alone, whose vocals flicker out. It’s a good song, but way way way too repetitive. This is the one track that should be a minute and a half long.
“Fortune Cards in Tibet” launches right into a very short speed punk song. It feels like the song is about to end, but it just switched gears, grinding in a heavy looping chord progression, and the vocals come in even faster than before. Another tempo change takes effect to slow the song down to a jog briefly, only to return to the speed section. This trading off back and forth, creates an interesting, ever changing experience.
“Fool's Children” begins as a heavy and slow, murky, oscillating stomp. Part dark metal as well, the guitars drone along in the sing-song, changing melody.
“I Am a King” is a good driving punk song that transitions between two notes, in a mocking na-na-na-na style. The chorus switches gears to something of a heavy guitar waltz. These two styles switch back and forth a couple of times, and a guitar drones on at the end quietly to close out the track.
“Shakin' All Over” starts with a psychedelic organ added to the heavy guitars, straying the furthest from punk into garage psych-rock for one song. The nasally harsh vocals are enhanced with a bit of a distorting echo, which adds further to the lo-fi garage sound.
“Saloone” is chanted by the cartoonish, raspy vocal in harmonized echo over and over until it hits the three chord power pop-punk hook. It’s basic, repetitive and drives home the melody. There was a brief breakdown before it returns to the initial chanting / harmonic chorus repetition. And they change it up slightly by singing the saloon chant in the round. The song slowly fades out, and leaves the singer alone, whose vocals flicker out. It’s a good song, but way way way too repetitive. This is the one track that should be a minute and a half long.
“Fortune Cards in Tibet” launches right into a very short speed punk song. It feels like the song is about to end, but it just switched gears, grinding in a heavy looping chord progression, and the vocals come in even faster than before. Another tempo change takes effect to slow the song down to a jog briefly, only to return to the speed section. This trading off back and forth, creates an interesting, ever changing experience.
“Fool's Children” begins as a heavy and slow, murky, oscillating stomp. Part dark metal as well, the guitars drone along in the sing-song, changing melody.
“I Am a King” is a good driving punk song that transitions between two notes, in a mocking na-na-na-na style. The chorus switches gears to something of a heavy guitar waltz. These two styles switch back and forth a couple of times, and a guitar drones on at the end quietly to close out the track.
“Shakin' All Over” starts with a psychedelic organ added to the heavy guitars, straying the furthest from punk into garage psych-rock for one song. The nasally harsh vocals are enhanced with a bit of a distorting echo, which adds further to the lo-fi garage sound.
“Chimney” has its melody introduced with
the vocals only, and it is already a droning metal song. After 45 seconds or
so, the heavy guitars add in the bass melody that you were expecting all along.
The vocals grow more intense as the song progresses, and ends with the vocals
taking back over the song.
“Snoopy (Hang On Sloopy)” starts with heavy guitar chords, playing out a sloppy version of the familiar melody. The whiny, raspy vocals add in their own lyrics to the popular tune, and the very stripped down version slumps along, with a harmonized Ah-Ah-Ahs in the chorus. I think the lyrics here include “I Want A Cookie.”
“The First Gale in the Spring” starts with a driving two chord backbone and once the vocals are added, the angular chords and slightly off notes make up the main melody of the song. A slow messy chaos of a breakdown, with feeding back guitars and crashing cymbals slows the song down. It then jumps right back into the off-kilter metal melody.
“A Song Of a Girl Can't Wait” features of a swaying drinking melody played by an accordion and oompa metal guitar. This is a very interesting choice of instrumentation, but it somehow makes sense in the grand scheme of the album. The main chorus is the sea-shanty melody singing La-La-LaLa’s. The quiet accordion finished out the track
“Onodera-san” sounds like a poor quality live recording at first, making use of noisy feedback and speed-punk tempo shouting. The song winds down quickly, and finds new life as a sludgy syrupy crawl, only to lead back to the burst of speed punk energy. This transition between energy and relaxing feet dragging is shrouded under what sounds like all the noises bouncing around the room, providing the lo-fi feedback, and live-sound appeal.
“hidden track” counts up to about 20 seconds before even starting with spoken dialogue. Then at 33, the guitar provides a nice stomping beat. Pauses in the music allow the vocals spoken quietly, and the guitars and heavy drumming pick back up. These two parts make up the whole song, which only lasts about a minute and 10 seconds.
“Snoopy (Hang On Sloopy)” starts with heavy guitar chords, playing out a sloppy version of the familiar melody. The whiny, raspy vocals add in their own lyrics to the popular tune, and the very stripped down version slumps along, with a harmonized Ah-Ah-Ahs in the chorus. I think the lyrics here include “I Want A Cookie.”
“The First Gale in the Spring” starts with a driving two chord backbone and once the vocals are added, the angular chords and slightly off notes make up the main melody of the song. A slow messy chaos of a breakdown, with feeding back guitars and crashing cymbals slows the song down. It then jumps right back into the off-kilter metal melody.
“A Song Of a Girl Can't Wait” features of a swaying drinking melody played by an accordion and oompa metal guitar. This is a very interesting choice of instrumentation, but it somehow makes sense in the grand scheme of the album. The main chorus is the sea-shanty melody singing La-La-LaLa’s. The quiet accordion finished out the track
“Onodera-san” sounds like a poor quality live recording at first, making use of noisy feedback and speed-punk tempo shouting. The song winds down quickly, and finds new life as a sludgy syrupy crawl, only to lead back to the burst of speed punk energy. This transition between energy and relaxing feet dragging is shrouded under what sounds like all the noises bouncing around the room, providing the lo-fi feedback, and live-sound appeal.
“hidden track” counts up to about 20 seconds before even starting with spoken dialogue. Then at 33, the guitar provides a nice stomping beat. Pauses in the music allow the vocals spoken quietly, and the guitars and heavy drumming pick back up. These two parts make up the whole song, which only lasts about a minute and 10 seconds.
Stand Out Track: Fortune Cards In Tibet
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