Kirsty Stegwazi
Country of origin:
Australia
Type of music generally:
Evocative/eclectic, beautiful & fierce
Status:
Most recent solo release, Jailbirds (2001)
See also:
Some Kristi Stegwazi info at Lost and Lonesome Recording Co.See The Ectophiles' Guide entry for her band, The Bites
Comparisons:
Kristin Hersh, Rachel Smith
Covers/own material:
Own
General comments:
Kirsty Stegwazi is an obscure but excellent artist from Melbourne. I've been her fan for many, many years and after her 2001 release, Jailbirds, I elevated Kirsty to the status of My Personal Goddess. And naturally she promptly vanished from the music scene...I was not happy. But eventually I learned Kirsty didn't leave the scene altogether, she just stopped working solo in favour of starting a band, The Bites.
I cannot think of any direct comparison for her. Perhaps Kristin Hersh might come closest, but really, she's like those other people who are not like anybody else, OK? Odd tunings, strange chords, wonderful, soulful voice. And if you get to see her in person, weird yet endearing sense of humour.... The years pass, yet she remains one of my favourite artists. Jailbirds was my album of the year in 2001, and now holds secure place in my "10 Desert Island Disks". (afries@zip.com.au)
Recommended first album:
Jailbirds
Recordings:
- A Good Day (EP) (1997)
- Keep Still (1998)
- Jailbirds (2001)
A Good Day ep
Release info:
1997—Mushroom Records
Availability:
Rare
Ecto priority:
Recommended
Comments:
Her first real release (she previously recorded two tapes she'd sell at her gigs). Starting with minimalist yet oddly catchy "Swim Around Love Song" followed by chunky "A Good Day", the mood switches to subdued, somewhat spooky "Arachnid With Strings" then jumps to all-out rocking "Suffer". The closing track, "She Cut Her Hair" is perhaps one weaker moment on otherwise excellent record. (afries@zip.com.au)
Keep Still
Release info:
1998—Way Over There Records, distributed by Shock Records
Availability:
Rare
Ecto priority:
Recommended
Produced by:
Kirsty Stegwazi
Comments:
Nine tracks this time, and released on truly independent label, this is another excellent recording in the unique Stegwazi style. There are the usual odd chords and chunky riffs, quick changes of mood and volume from nearly whispering to roaring (and she *can* roar when she wants to), now she seems off-key, now it seems by design—listening to her records can be a bumpy ride, yet compelling at the same time. Her sense of humour comes through in her lyrics, but can really be apreciated when attending her performances.... I'll never forget her running commentary on goings-on in the male toilets she could glimpse from the stage every time someone went in or out...but you'd just have to be there. And that's the problem—sadly, she'll probably never be widely popular. Then again, if she was, she'd lose her most endearing quality: just like with many Ecto artists, it is precisely the immediacy of the whole affair that makes it so special. (afries@zip.com.au)
Jailbirds
Release info:
2001—Lost and Lonesome Recording
Availability:
Available in Australia
Ecto priority:
Highly recommended
Produced by:
Kirsty Stegwazi
Comments:
My record of the year is Kirsty Stegwazi, Jailbirds. I've been a great fan of this obscure artist from Melbourne for many years now, so it's no suprise I like this album. But is it really better than anything else released this year? Well, I'm objective enough to know her appeal is far from universal, even here on Ecto. But whatever your reaction might be, one thing is for sure: her sound is all of her own. I think of her as a kind of raw talent, untempered by any kind of formal training. Which might be completely off the mark; for all I know she's been having music lessons since before she could walk (which in a way would make the way she sounds even more remarkable).... She reminds me of Veda Hille in a way—they both polarise opinions, and they seem to make a conscious effort to shun "accessible" in favour of more difficult path. Difficult both musically and in terms of financial rewards they can expect. Kirsty seems well connected and respected on Melbourne's music scene and she can be found in different collaborations and in the credits as a studio musician. But there's no way on Earth she'll find herself on the charts with this stuff! Though on her earlier record she sings, "I'll lick your boots till they glow in the daylight/if you promise me I won't stay this poor" on Jailbirds she shows no signs of softening. These songs are just as stubbornly hers, strange and clearly not appealing to the radio programmers as ever. Still, they worm their way into my subconscious until I catch myself humming them without even realising I'm doing that, and when I sit in front of my CD rack trying to figure out what to play, as often as not I find I'm already holding Jailbirds in my hand. That's why she gets to be my Number One. (afries@zip.com.au)
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