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babes, eris design, army, liberal poltics, andrewmother fucking hutchins, database, t shirthell.com, portillo, online business, privacy, pulp fiction wallet, unsigned bands, suicide, On "Factory," the other standout song on her self-titled debut disc, she shows more signs of the sailor's mouth shown on that single, beginning by singing the self-effacing lines "These are not my people, I listen music should never have come here/ Chick with a dick and the gift for the gab" in recollection of going to a hipster New Yorker party with Rufus. The song, like "Bloody Mother Fucking listen music Asshole," is another number that eschews listen music verse/chorus to tumble over with escalating measures, both being marked by a remarkable vocal performances from Martha. The voice is an expressive instrument unto itself, and one that's found all sorts of misguided comparatives in the press, with predictable humans like PJ Harvey, Kate Bush, and Tori Amos used as off-the-mark measuring sticks. The obvious and perhaps only comparison, really, should be to Martha's fellow Canadian, Mary Margaret O'Hara, in terms of vocal approach and of music.
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"Family babes are the most important thing to me, and so, singing about them, and being sung about by them, in the end that can't be that bad." This "expression" comes in the form of songs. Rufus babes recently wrote an ode to her called "Little Sis," but Martha's life has long been charted by words and chords: Loudon rendering her as infant, with babes "Pretty Little Martha," then at "Five Years Old," then as a misbehaving child in "Hitting You," and, finally singing with the 19-year-old Martha, newly adult, on "Father/Daughter Dialogue." That song came from Loudon's album Grown Man, which was largely about, of course, the emotional troubles of the dysfunctional Wainwright clan. So "Bloody Mother Fucking Asshole" is merely Martha's riposte, her chapter in a family drama writ large in popular song, its final offering of "I will not pretend/ I will not put on a smile/ I will not say I'm all right for you/ For you, whoever you are" showing particularly touching personal qualities to go with its unrestrained rage.
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