By Matt Coker
By R. Scott Moxley
By Charles Lam
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By Gustavo Arellano
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Photo by James BunoanAnyone who tries to tell you about Squab has to start with a hesitant "I don't know." It takes a few breaths just to get an adjective or two: Squab is intense, says Jen, bassist of local band Resist and Exist, who saw them at probably their first show at Koo's in 1997. They've got a little bit of a dance thing going on, but it's also dark, says another Jen, this one the drummer for Radio Vago, an LA band that has shared tons of shows, a few tours and a recent split single with Squab. Yeah, adds Adrienne, singer of Radio Vago. Dark, but danceable at the same time. ("Like a disco when the power goes out?" we ask). Even their manager, Kat (a sometime contributor to this paper), can't pin them down. "They're great, but where do we put them?" she asks. "When I book shows for my own stuff, even I don't know where to put them."
It's hard to fit into local music when you're doing something different, says Jen from Radio Vago—hard for bands that aren't doing something ordinary. And Squab aren't just out of the ordinary—they're practically alien, a million trends removed from whatever's selling bad booze at the boner bars.
They're out—that black triangle Chris had stickered on her bass was a Nazi designation for "socially unacceptable women," the female equivalent then and now to the reclaimed pink triangle. They're total art—besides the two-drummer Tracy-and-LaDawn thing, they've got a skirmish line of samplers, keyboards and digital triggers, as well as the collage aesthetic to make it sing. They're smart and funny—summed up as much by the sex-positive "HOW TO FUCK YOURSELF" pillowcases ("On the front, it gives you a little . . . diagram," says Jen from Resist and Exist) they used to sell as by their unabashedly raw lyrics, which keep the personal next to the political just as they keep the choruses next to the verse. They're women who dress and act and play music absolutely and exactly how they want—the first time anyone ever saw any of them in dresses was at LA's Ladyfest last month, and they did that as a joke ("LaDawn was playing her drum in boxers with her skirt hitched all the way up," says Tracy, "and someone was like, 'It's so nice you guys dressed up!'")
And pretty much as long as Squab has been a band—from the years when Chris had a mohawk and wasn't too long out of her oi band Madcap Youth—they have always been just off-center of everything. It's frustrating, they say, right up until they start playing music.
"I don't think we even know somewhat how we're kind of on the outside," says LaDawn. "We're not writing to . . . We just play what comes out. What sounds good, when we're like, 'Oooh, yeah, damn!' We entertain ourselves!'"
They talk about band practice like every other band talks about snorting coke off strippers' asses—the same hungry glint in the eye, the same giddiness, the same instant clarity of purpose. LaDawn laughs a little as she explains the three-hour practices where Squab just zones in, dogpiling ideas until it all melts into what they want. But by the time she has finished the thought, she's not laughing at all.
"It's better than any drug, any—well, some sex, but any drug," she says. "I'm serious. Sometimes it just takes it to a whole new level. And you're like, 'Ooh.'"
"We practiced on my birthday," says Tracy. "That's what I wanna do. I don't wanna go out to party or go to dinner—I wanna practice. It's not a discipline thing—we want to be there."
They're an astronomically unlikely foursome—it took years to get to this finally feels-right incarnation, playing out as a harder, punker three-piece until they met LaDawn (there's a great lost Squab album somewhere back in 1999—of course, there's a great new Squab album being written in 2002, too). And they've got that kind of to-the-bone bond that makes the best bands—it's so strong it's contagious.
"The typical LA following is very fickle—they go along with what's big," says Radio Vago's Adrienne. "The cult following will go to any show regardless of where it is—they know way too much information about you. And there's definitely a Squab mob."
"They just all have so much character," says Jen from Resist and Exist. "Their chemistry together—yeah, some bands you see are good musically, but Squab has something special."
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It's the contrasts, Tracy says. She's the sidetracked tennis pro who was such a bad little kid she got her parents evicted—she also looked like Ricky Schroeder before she hit puberty, fueling a hellish Disneyland experience where about a hundred girls asked for her autograph. "If I was a boy, I would have lost my virginity that day," she says. "It was the worst thing ever in my life!"
Chris was the eight-year-old Siouxsie fan who befriended Tracy at Moreno Valley High out in the 909 and spent her youth skateboarding to the record store and scamming Germs jackets off boys.