Late '70s punk rock was the turn-on for Washington D.C. teenager Thalia Zedek, who moved to Boston in 1979 and became involved with its nascent art punk scene. Inspired by local bands like Mission of Burma, V, and Bound and Gagged, she started playin [+]Late '70s punk rock was the turn-on for Washington D.C. teenager Thalia Zedek, who moved to Boston in 1979 and became involved with its nascent art punk scene. Inspired by local bands like Mission of Burma, V, and Bound and Gagged, she started playing music herself, first as drummer and then guitarist and lead singer in White Women. Next came Dangerous Birds, which Thalia left after one 7'' offering (later re-released on one of the early Sub Pop cassette comps by a then unknown Bruce Pavitt) in search of something less poppy. In '84 she founded Uzi, whose more daring and abrasive creations were released on the EP Sleep Asylum on Homestead Records (later re-released on Matador Records), but who, in keeping with tradition, had broken up by the time the record came out. It did, however, bring her to the attention of one of her favorite bands at the time, New York noise punks Live Skull. Thalia stuck with these experimental noise contemporaries of Sonic Youth for two albums and an ep before their breakup and her own personal demons led her back to Boston, where she founded Come with band mainstay Chris Brokaw. They recorded four critically acclaimed albums for Matador, cementing their reputation as foremost purveyors of some of the most broodingly passionate music of the '90s. By the time the new millenium rolled in Thalia had gone solo, employing former Come-mates and others to play on Been Here and Gone on Matador and its successor You're a Big Girl Now on Kimchee. Ms Zedek has indeed developed something of a trademark in sound: indie torchsongs for your nights without end.
Thalia once again proves on You're a Big Girl Now that whatever she applies her voice and vision to becomes part of a body of seemingly timeless musical works. There is an air of authority in its world-weariness, a certain sang froid that resists the musical trends of the day. Her songs sound lived in, thoroughly hers and of the moment. And it is always astounding how surefooted she is in choosing cover material and making it sound as if it's always had a place in the Zedek canon.
The Velvet Underground's "Candy Says," written by Lou Reed about Warhol-circle celebrity transvestite Candy Darling, is a natural for Thalia with its theme of alienation from the self and others. Such gender-
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