We’re proud to announce that “Women’s Rights” by Childbirth is now available worldwide through Suicide Squeeze Records.
“There probably isn’t a funnier punk band than Childbirth. The three-piece Seattle supergroup of sorts is the offspring of Bikini Kill and Broad City…” i-D
“…the trio is punk’s young, brash, feminist face.” NPR
“Women’s Rights proves them effortlessly, riotously funny.” Brooklyn Magazine
“…on their second “album” pick up the mantle of Funniest Band That Matters from the sadly departed Das Racist.” SPIN naming Women’s Rights the Album of The Week
“The Seattle supergroup revel in all the effluvia that induces so much discreet pearl-clutching…” Pitchfork
“While the band definitely comes from a place of humor and the cover features a rubber gloved hand holding a glass of wine, pinky out no less, it should not take away from the seriousness of the topics they discuss.” IMPOSE
“Biting satire runs through all 13 garage-punk songs on the album, which are filled with as much poignant feminist and sociopolitical material as you’ll find in most bands’ entire back catalogs.” BITCH
“It’s a crude, serrated anthem for ladies who piss in the shower and don’t clean litterboxes.” Stereogum on “Nasty Grrls”
Pick up the new album now via iTunes, BandCamp, Suicide Squeeze, and your local record store.
Tour dates:
FRI OCT 2 – Seattle WA, Chop Suey – RECORD RELEASE SHOW (BUY TICKETS)
SAT OCT 3 – Portland OR, The Know
FRI DEC 18 – Seattle WA, Holiday Freakout @ Neumos w/ No Age
About Childbirth:
Childbirth is a “supergroup” in the sense its members are all in
other hit bands (Julia Shapiro of Chastity Belt, Bree McKenna of
Tacocat, Stacy Peck of Pony Time) and also that they do good for the
world while in costume. The band’s feats are performed in maternity
gowns rather than the traditional cape, but the gowns flap around as
dramatically and are probably more comfortable. And honestly writing a
song about an astronaut who wears adult diapers is cooler than flying.
Stacy first picked up a guitar as an MTV-obsessed teenager in Iowa.
She loved the classic rock and 80s pop her parents listened to in the
car, but it was the Riot Grrl and alternative music coming out of
Olympia in the 90s that inspired her to play. The Olympia scene
eventually lured her to the Northwest, where she played with Touchdown
Eagle, Redbook and Telepathic Liberation Army.
Stacy met Julia when Redbook played a show with Chastity Belt. “They
were so good I didn’t want to play after them,” said Stacy, “They kept
saying ‘fuck you’ to the audience which I thought was cool.” The two ran
into each other again at a Team Dresch show and the first proto-
Childbirth songwriting sessions ensued.
Stacy and Bree’s story is more complicated. Long before the formation
of Childbirth, they had been in a relationship that ended disastrously.
The two didn’t speak for two years, and were in the process of
reconnecting and becoming friends when Stacy met Julia. Bree played with
Stacy and Julia one night and found they had tremendous musical
chemistry, with Stacy on drums, Julia on guitar, and Bree on bass.
Childbirth was, well, born, screaming, clothed only in sunglasses, and
almost immediately releasing a song (on their first record, It’s a Girl)
that became #9 of Spin’s Best Singles 2014. The song, “I Only Fucked
You as a Joke,” was so popular I saw someone perform it at GGNZLA
Records karaoke before I heard the original recording. In fine Riot Grrl
tradition, Childbirth’s 3-chord punk songs are irreverent, funny, and
so catchy the band truly deserves the title of “supergroup.”
To further describe Childbirth–they played my Rainier-and-oxy-fueled
book release party, attended by two McCarthur geniuses, where bottle
rockets went off indoors and a piñata nearly took out a light fixture,
and their sound was so analogous to the party I think at one point they
turned invisible.
Childbirth’s forthcoming album, Women’s Rights, is piss-your-pants
funny—subject matter includes a trashy friend bringing coke to a baby
shower (“Baby Bump”) characteristics that warrant an instant “swipe
left” on Tinder (“Siri, Open Tinder”) and dating vapid IT douches (“Tech
Bro.”) Lyrics on Women’s Rights are highly quotable—from “Tech Bro:”
“I’ll let you explain feminism to me/If I can use your HD TV.”
Like the majority of effective political art, Women’s Rights shows
rather than telling. The songs describe what is fucked up in the world
so evocatively that it needs no commentary, and always with a biting
sense of humor. “Will You Let the Dogs In” is a rewrite of “Who Let the
Dogs Out,” which would be hilarious by itself (“Will you let the dogs
in? Will you? Will you?) but in the context of the album acquires a
feminist subtext. I’d never thought about it before, but “Who Let the
Dogs Out” is kinda bro-y. “Will You Let the Dogs In” subtly says
something along the lines of okay, you puked on the floor at my party
and called my teenage cousin a bitch, now maybe clean up and stop
yelling?
This is the genius of Childbirth—you’re laughing and dancing so hard
you don’t notice the band’s effective and often uniquely subtle social
commentary until you’re brushing your teeth one night and find yourself
analyzing the lyrics of “Who Let the Dogs Out.” And then you laugh
again.
Childbirth
Women’s Rights
October 2, 2015
1. Women’s Rights
2. Nasty Grrls
3. Tech Bro
4. More Fertile Than You
5. Breast Coast (Hangin’ Out)
6. Siri, Open Tinder
7. Cool Mom
8. Let’s Be Bad
9. Since When Are You Gay?
10. @Julia Shapiro
11. Will You Let The Dogs In?
12. Baby Bump
13. You’re Not My Real Dad
