Following her brief cult success as half of Vic Twenty, singer Piney Gir reappeared with the delightfully lo-fi Peakahokahoo, released fifteen years ago this week. It’s a short album – so short, in fact, that it’s difficult to review, as each track disappears before you’re really able to start writing anything.
Vic Twenty had been a wonderful act, for the short time that they lasted. A couple of years earlier, they supported Erasure, wore Russian military outfits, and released delightful short electronic pop music. Sometimes verging on chiptune, at other times just dark, grimy, simplistic synthpop, their little-known album Electrostalinist is well worth a listen, if you ever find a copy.
This, though, was Piney Gir‘s first solo album. It opens with Boston, carrying on the theme of absurdly fast synth lines and choruses that started in Vic Twenty. Good, but not entirely convincing yet.
Next is Que Cera Cera, a hilariously bouncy Casio keyboard version of the first verse of the classic, which leads us into the dark but chirpy Girl. It’s clever – atmospheric but still very lo-fi. It’s also long enough to be able to write more than a sentence while it lasts. If there were any obvious singles on here, this is probably where I would begin.
Creature is good too, though – its slow, crunchy beats and processed vocals are evocative and intriguing. There’s an element of teenage angst here, which is captured beautifully. Other things aren’t quite as clear – the semi-shouty rendition of My Generation just about works, but seems a little misguided. Same for the short and somewhat sweet La La La.
A couple of years on, Piney Gir was asked to play country versions of the songs on here, and thus the follow-up album Hold Yer Horses became an alt-country version of this album. That might have been an odd choice at the time, but it was extremely successful, at least in underground circles, and seems to have gained her a cult following and cemented her career since then.
But there were already hints of this direction on Peakahokahoo, and Greetings, Salutations, Goodbye is probably the first of these. It would open Hold Yer Horses, and several of the other key tracks from here made it on there too. It’s quirky and clever, and while the guitar work comes as a bit of a surprise after all the 8-bit hits, it’s a good song.
K-I-S-S-I-N-G is another sweet song, although the rhymes are a bit odd. The instrumentation is what makes this work, honestly, but it’s an impressive reminder of just how varied this album is – we’ve come from fast, frantic, synthpop to this somewhat haunting piece.
It is a little impenetrable at times, though – there seems to be a bit of a journey going on through this album, and so probably by this stage we’re hanging out with an angsty teenage Piney Gir, who is wondering why everyone else seems to be kissing in trees except her. In that context, Sweet maybe makes sense, but it’s difficult to be sure – it seems to be a dreamy love song for someone that the singer doesn’t really know, but you probably had to be there to be certain.
Nightsong sees Simple Kid turn up for an oddly moonlit jazz piece, again unlike anything else that we’ve heard on here so far. This is definitely an album that’s full of surprises. But Piney Gir is also not afraid of bringing elements back when they’re needed, and so Ruth is Coming to America takes us back to those catchy Vic Twenty countermelodies with a full-on Casio rhythm. It’s bizarrely great, and yet at the same time a little bit unlistenable. Intriguing, though.
Jezebel sees things turn a bit dark. Maybe this isn’t an autobiographical album, after all. This is a grimy glam rock piece in a sense, but with an absurdly laid back vocal that really shouldn’t fit, but somehow works well. I don’t think anyone has ever recorded a glam track that was this gentle.
Finally, the closing track is Janet Schmanet – it’s actually the thirteenth track on here, although barely forty minutes have passed. It’s probably the cheesiest of all the tracks on here – the vast majority of sounds on here come from a portable keyboard, but that’s intentional. The lyrics are entirely daft, but hey, why not? The “get your adverbs here” line is weird, but inspired.
For good measure, we get a theremin version of Somewhere Over the Rainbow to close. Because of course we do.
So that’s Peakahokahoo. It’s every bit as eccentric as the title would suggest, but for all its oddities, it’s definitely never boring. You can see how the simplistic synthpop of Vic Twenty must have seemed a little boring to Piney Gir – she clearly doesn’t like being pigeonholed, and probably likes being in control too. So why not let her take control of your listening for a few minutes, and hear what she has to say for herself? Just accept that she might be a little bit strange at first.
You can still find Peakahokahoo at all major retailers.