As it currently stands, we live in a time where our more Westernised society is, for want of a better description; all over the fucking place. While culturally we’re (For the most part) all steadily becoming more and more open-minded and understanding, of the ever expanding perception of normality, there are still people who may get, ‘triggered’ as you may say, by certain topics and buzz-words. Some of the most common are generally simple things like veganism which, ironically, causes a lot of beef between some people…then there are prejudices and confusion surrounding the ever growing list of sexualities and gender fluid identities. Seriously now they’re giving rock and metal sub-genres a run for their money in volume and I just don’t have the appropriate graphs to go into that right now. Then there’s feminism…
Let’s be honest, it’s 2019 and the very fact feminism is still such a strong word speaks for itself. The inconsistencies regarding equality (Or lack thereof) can still be beyond laughable, covering everything from salary to bloody abortion rights! Well today’s band are proud and passionate to provide a voice for the cause, exuding a positive feminist vibe; let me introduce you to HANDS OFF GRETEL. The four-piece (Consisting of vocalist/guitarist Lauren Tate, guitarist Sean Bon, bassist Becky Baldwin and drummer Sam Hobbins) formed in South Yorkshire in 2015, and with influences including JACK OFF JILL, HOLE and THE DISTILLERS it’s easy to see where they blend punk and emancipation. They recently released their brand new album “I Want The World”…but where’s the equality in that? Let’s find out…
Opening track “Kiss Me Girl” gets the record off to a roaring start with an up-tempo flurry of punk-rock, laced with lashings of attitude and a tongue-in-cheek sense of taboo; it’s very Brody Dalle. The track explores female sexuality within same-sex relationships, with lyrics like “Have you never kissed a girl before?” and “What’s wrong just feels so right” entwined within a narrative of naughty excitement. Tate delivers the track with a brilliant sense of sarcasm and it kicks things off wonderfully. The first half of the album as a whole in fact doesn’t miss a beat and really we’re treated a solid run of tracks from the word go…”S.A.S.S” continues with its sense of female empowerment by taking a swipe at misogyny with an assertive hard rock number, balanced with subtle layers of funk, something which fans of SUMO CYCO would appreciate for sure. “Big Boy” is another up-tempo piece with a solid rock ‘n’ roll rhythm and more than a sprinkling of innuendo. Very lyrically suggestive, Tate is clearly having fun here and resonates through the track.
If you fancy something a little less intense however the album houses further gems such as the wonderfully infectious “Alien”…vocally not as fervent; there’s a predominantly more funk-pop aesthetic here with a cleaner sound and a more polished, commercial production value…this one would easily entertain fans of NO DOUBT / GWEN STEFANI and it’s got a brilliant climactic flurry. The album does run out of a little steam as it reaches its final moments however with a couple of less inspired cuts not quite on par with the aforementioned. “Milk” for example carries a strong grunge influence and as a result it’s a lot deeper, but at the same time more sluggish; sadly a boring listen, before “My Friend Said” then despite being a generally jovial little track becomes pretty stale and repetitive very quickly…I guess you could say it’s lyrically la-la-la lalalalalala-lazy? Aside from those hiccups it’s safe to say that this is, overall, a very strong and entertaining album. The punk elements where needed are raw and confrontational to aid the subject matter well, allowing Tate to get her message across in an epigrammatic fashion, while the more pop-driven segments allow for a genuinely infectious listen. They may want the world, but you may want to just give this album a listen, and very much get your hands ON Gretel…with consent though, naturally. [8]
Let’s be honest, it’s 2019 and the very fact feminism is still such a strong word speaks for itself. The inconsistencies regarding equality (Or lack thereof) can still be beyond laughable, covering everything from salary to bloody abortion rights! Well today’s band are proud and passionate to provide a voice for the cause, exuding a positive feminist vibe; let me introduce you to HANDS OFF GRETEL. The four-piece (Consisting of vocalist/guitarist Lauren Tate, guitarist Sean Bon, bassist Becky Baldwin and drummer Sam Hobbins) formed in South Yorkshire in 2015, and with influences including JACK OFF JILL, HOLE and THE DISTILLERS it’s easy to see where they blend punk and emancipation. They recently released their brand new album “I Want The World”…but where’s the equality in that? Let’s find out…
Opening track “Kiss Me Girl” gets the record off to a roaring start with an up-tempo flurry of punk-rock, laced with lashings of attitude and a tongue-in-cheek sense of taboo; it’s very Brody Dalle. The track explores female sexuality within same-sex relationships, with lyrics like “Have you never kissed a girl before?” and “What’s wrong just feels so right” entwined within a narrative of naughty excitement. Tate delivers the track with a brilliant sense of sarcasm and it kicks things off wonderfully. The first half of the album as a whole in fact doesn’t miss a beat and really we’re treated a solid run of tracks from the word go…”S.A.S.S” continues with its sense of female empowerment by taking a swipe at misogyny with an assertive hard rock number, balanced with subtle layers of funk, something which fans of SUMO CYCO would appreciate for sure. “Big Boy” is another up-tempo piece with a solid rock ‘n’ roll rhythm and more than a sprinkling of innuendo. Very lyrically suggestive, Tate is clearly having fun here and resonates through the track.
If you fancy something a little less intense however the album houses further gems such as the wonderfully infectious “Alien”…vocally not as fervent; there’s a predominantly more funk-pop aesthetic here with a cleaner sound and a more polished, commercial production value…this one would easily entertain fans of NO DOUBT / GWEN STEFANI and it’s got a brilliant climactic flurry. The album does run out of a little steam as it reaches its final moments however with a couple of less inspired cuts not quite on par with the aforementioned. “Milk” for example carries a strong grunge influence and as a result it’s a lot deeper, but at the same time more sluggish; sadly a boring listen, before “My Friend Said” then despite being a generally jovial little track becomes pretty stale and repetitive very quickly…I guess you could say it’s lyrically la-la-la lalalalalala-lazy? Aside from those hiccups it’s safe to say that this is, overall, a very strong and entertaining album. The punk elements where needed are raw and confrontational to aid the subject matter well, allowing Tate to get her message across in an epigrammatic fashion, while the more pop-driven segments allow for a genuinely infectious listen. They may want the world, but you may want to just give this album a listen, and very much get your hands ON Gretel…with consent though, naturally. [8]
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