Public Strain

Last updated

Public Strain
Women Public Strain.jpg
Studio album by
ReleasedAugust 23, 2010 (2010-08-23) [a]
StudioYoko Eno
Genre
Length42:18
Label
Producer Chad VanGaalen
Women chronology
Women
(2008)
Public Strain
(2010)
Singles from Public Strain
  1. "Eyesore"
    Released: September 2010

Public Strain is the second and final studio album by Canadian rock band Women. It was released on August 23, 2010, via Flemish Eye in Canada and Jagjaguwar in the United States. The album was produced by Chad VanGaalen and recorded during a period of isolation for the band with limited equipment and experimental techniques involved in the 10-month recording process. [b] It has been noted for the key and vocal delivery, unique sound and krautrock style, influence from the Velvet Underground, and numerous genres including post-punk.

Contents

Lyrically, Public Strain addresses issues such as paranoia and melancholy. It contains multiple references to Ray Johnson. The deadpan vocal delivery of guitarist Patrick Flegel and bassist Matthew Flegel were described as evocative and hard to understand; the album makes use of harmonizing from all three band members and VanGaalen to create an "ethereal" vocal track. Its instrumentation is abrasive, which drew comparisons to Sonic Youth and Wavves. An accompanying tour would abruptly halt.

Public Strain was released to high critical reviews, and it was longlisted for the 2011 Polaris Music Prize. Retrospective reviews have labeled it one of the best albums of the 2010s decade, with particular praise directed towards the closing track "Eyesore". Widely considered an underground classic, the album has received a cult following. Its large impact on indie artists has been noted by personnel involved in the recording and release of the album.

Background and recording

Chad VanGaalen contributed to the album's abrasive sound and was a friend of the band. Chad VanGaalen at Primavera 2009.jpg
Chad VanGaalen contributed to the album's abrasive sound and was a friend of the band.

After promoting their debut album Women in 2008, the band felt the pressures of extensive touring and began recording Public Strain soon after finishing their tour— [5] the members lived in a house together with a place in their basement that was used to jam for hours at a time. [6] The album was produced by Chad VanGaalen, who also worked on Women's first album. It was the first to be recorded in VanGaalen's new studio space called Yoko Eno. [7] Patrick Flegel, a guitarist and front man of the band, would describe the recording process as a "slog", but with similar or the same experimentation techniques as Women. [6] Flegel would create a sloppy demo of a track and slowly piece it together with VanGaalen, relatives of VanGaalen, and the band members, a process which he described as "debaucherous". [6] Drummer Michael Wallace was not particularly involved in the songwriting process but acknowledged Women's influence from the Velvet Underground, especially Moe Tucker. Wallace was also influenced by his knowledge gained in India before joining Women. [8]

The guitar track for "Penal Colony" was originally not going to be used, but the band decided to keep the recording; Public Strain varies with production strategies that were made on the fly and meticulously produced recordings. [9] The drum track for "China Steps" was initially recorded in a "cavernous, concrete basement" in VanGaalen's garage, and the song concludes with more closely recorded drums. [9] Nonetheless, Flegel would later state that the band members did "lie through their teeth" in contemporary interviews; most of Public Strain was recorded outside, including Flegel's vocals, mainly because VanGaalen desired to leave the studio. [6]

I like listening to music that sounds sort of fearless, like they're not afraid of fucking up, or not particularly worried about how people think ...

Patrick Flegel interview with Anthony Fantano, 2010 [9]

Most of the album was recorded to tape and without professional equipment, creating more of a raw and abrasive sound. [9] The final product was considered by Flegel to have "missed the mark" of Women's intended sound, although it got closer than their debut album to their intentions. [9] Flegel was working a graveyard shift full time, leading to a period of isolation, which contributed to the songwriting process: "that's what contextualizes the album in my mind, this bizarre complex in the suburbs, no people around—just, completely quiet, just left alone to your thoughts, too much time on your hands, thinking too much, blowing things out of proportion, growing incredibly paranoid". [9] The band members would drink alcohol and soda during the recording process. [6] Wallace would later state that the recording process was difficult and stressful. [5]

The recording process took about 10 months; [6] [b] the title of the album reflected the isolation of the band. [9] Flegel credits Ian Russel, the founder of Flemish Eye, VanGaalen's label, as a motivator for creating Public Strain. [6] VanGaalen considers the sound of the album to be hard to replicate in the face of other artists' requests: "They're expecting a record to sound a certain way ... they'll be like, oh, man, like the Women record, but then they don't realize how that was, like, nine months of us hanging out, you know, and just like playing Nintendo and like not worrying about stuff." VanGaalen praised the songwriting abilities of the band and bassist Matt Flegel. [7] During the recording process, VanGaalen would discard takes that sounded too clean and replace them with the more abrasive cassette tape tracks. [10]

Music and lyrics

The Velvet Underground served as a major influence on the album's sound Velvet Underground & Nico publicity photo (retouched).jpg
The Velvet Underground served as a major influence on the album's sound

Public Strain has been described as post-punk, art rock, indie rock, [2] and noise rock. [10] The album contains a deadpan vocal delivery and showcases more pop influences than Women. [3] It begins with "Can't You See", an "expansive opening track" that changes key from A major to E major, with optimistic lyrics. [2] The sound of the opening track was compared to Wavves, an American rock band. [11] "Heat Distraction" contains uncommon key and time signature changes; the song begins in 13
8
, and was compared to works by Sonic Youth and Swell Maps. [2] [12] "Narrow With The Hall" was noted for its minimal use of chords, "eerie" vocals, use of feedback, and its vintage 1960s sound. [13] [10] [14] "Penal Colony" is a subdued ballad, which drew comparisons to Public Strain's tenth track "Venice Lockjaw" for its paring back; the latter is noted for its "angelic melody and twinkling arpeggios" [2] and was called "the Velvet Underground [but] raised up from graves to woo the stars". [11] [15] "Bells", an "integral" track, [2] follows "Penal Colony" and is densely built with reverberating bass. [12]

The second half of the album is more abrasive than the first, opening with "China Steps". [2] Its motorik beat [16] and associated krautrock style drive listeners "toward a crescendo that never comes". [2] [14] [12] "Drag Open" has been considered to be one of the loudest tracks on Public Strain, [2] drawing comparisons to Thurston Moore of Sonic Youth. [17] [10] "Locust Valley" is one of the more melodic and intelligible songs on the album. [16] [12] The final track "Eyesore" lacks a chorus and is complete with "expansive guitar lines structured around ringing open strings and wide melodic intervals". [16] [17] [2] "Eyesore" was the first and only single off of Public Strain; the track is one of Women's best known songs and is one of their most cherished. [18] "Narrow With The Hall" and "Eyesore" were named "Best New Track" by Martin Douglas and Larry Fitzmaurice of Pitchfork, respectively. [19] [1]

Thematically, the album deals with topics such as unease, paranoia, melancholy, resignation, and euphoria. [2] [3] Public Strain was noted for evocative, hard to understand vocals and abstract lyrics, [2] and its harmony-heavy vocal delivery between Patrick and Matt Flegel, which has been described as "ethereal". [14] The lyrics were described to relate to the album cover of a blizzard, in conjunction with the album's monotonous production. [18] The cover art was chosen by Christopher Reimer, another guitarist for Women. [6] Two songs are direct references to late artist Ray Johnson: "Locust Valley" is the name of the town where Johnson lived, while "Venice Lockjaw" is a phrase Johnson used in pins that he handed out at the 1990 Venice Biennale. Johnson was previously referenced on Women's debut album, on the song titled "Sag Harbour Bridge". [13] [20]

Release

Public Strain was released on August 23, 2010, on VanGaalen's Flemish Eye record label in Canada, and on Jagjaguwar in the United States. [a] [2] [4] "Eyesore" was released in September as a single in the US. [1] [9] Preceding the release, Women announced an international three-month fall tour. [21] The European leg of the tour was successful for the band, but the North American tour was brutal; [8] the tour would eventually be cut short due to an on-stage fight on October 29, 2010. Exclaim! magazine would run a detailed account of the fight, and Flemish Eye stated that Women was "exhausted and going on hiatus." [2] [13] [5] The band would ultimately disband in October 2010 after cancelling all remaining shows of the tour. [5]

Reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.8/10 [22]
Metacritic 81/100 [23]
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [10]
The Boston Phoenix Star full.svgStar full.svgStar full.svgStar half.svg [12]
Drowned in Sound 8/10 [16]
Mojo Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [24]
NME 8/10 [11]
Pitchfork 8.0/10 [14]
PopMatters 9/10 [17]
The Skinny Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [15]
Spin 8/10 [25]
Uncut Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [26]

Public Strain was released to widespread critical acclaim. [23] At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 81, based on 20 reviews. [23] Aggregator AnyDecentMusic? gave Public Strain 7.8 out of 10, based on their assessment of the critical consensus. [22]

Sputnikmusic reviewer Electric City juxtaposed Women with popular contemporary artists, writing: "In the year of Kanye West, Sufjan Stevens, and Lady Gaga, the year where the artist is ultimately so much of the art, Public Strain exists without extra-textual discourse." [27] Aaron Leitko, writing for Pitchfork, called the album "a bleak but beautiful record, full of subtly skewed melodies". [14] Andrzej Lukowski wrote a review for Drowned in Sound based on the concluding song "Eyesore", and ultimately concluded that the final song and the album "sounds like the start of something greater for a band touched with greatness from the off". [16] Chris Buckle, for The Skinny, called it "one of the year's most rewarding listens"; [15] Joshua Kloke, at PopMatters , commented that in the wake of the band's potential breakup, "things have to leave you before you really begin to appreciate them". [17]

In a critical review, Chris Coplan for No Ripcord stated that, in the placement of Women among a number of bands that similarly draw influences from groups like the Velvet Underground, "do [Women] add anything? Are they truly that talented? The answer to those questions, and whether this album should be bought and consumed, is an unbelievably resounding no." [28]

Exclaim! placed Public Strain at number 10 on its list of the best Pop & Rock Albums of 2010, with critic Brock Thiessen writing that "Public Strain showed that rock'n'roll can still offer shock and awe". [29] Pitchfork placed the album at number 47 on its list of The Top 50 Albums of 2010; [30] similarly, Ron Webb of BBC called Public Strain "one of 2010's finest LPs". [31] The album was named as a longlisted nominee for the 2011 Polaris Music Prize. [32]

Legacy and influence

Public Strain has received lasting critical acclaim, with critics considering the album to be one of the best of the 2010s decade. It is widely considered to be an underground classic. [5] Sputnikmusic's staff ranked Public Strain the third best album of the decade, calling it "a remarkably ageless album, existing out of time or of capital m Movement, existing in its own category". [33] Gorilla vs. Bear and Tiny Mix Tapes ranked the album the 31st and 77th best album of the decade, respectively. [34] [35] Exclaim! named it one of the 50 best Canadian albums of the decade. [36] "Eyesore" in particular was described as a masterpiece and a "floating opus which could very well be their swan song" by Kloke. [27] [17]

Retrospective assessments have discussed the album's influence on indie artists. Michael Crick at PopMatters concluded that while it was unlikely that it had a wide influence, Public Strain still modeled and contributed to the "Calgary Sound" of music. [2] Tim Sentz of Beats Per Minute called Public Strain a cult classic in 2020, labeling "Eyesore" an epic finale, and wrote: "Just like the band who influenced them the most – the Velvet Underground]– it’s likely every aspiring musician who bought Public Strain and adored it, went out and started their own band". [18] Indie artists have also commented on the album. Clementine Creevy of Cherry Glazerr named Public Strain one of her 10 favorite albums of the decade. [37] Bradford Cox of Deerhunter named the album his favorite "lost classic", stating: "They were very advanced instrumentally ... I couldn’t come up with music like that if my life depended on it. I think they had a bizarrely huge impact on the younger groups coming up now." [38] VanGaalen would discuss how numerous artists would request for a Public Strain like sound in their own recordings. [7] Ian Russel of Flemish Eye—the label that had released Public Strain originally—referenced Brian Eno's comment on The Velvet Underground & Nico : "Everyone who bought the Velvet Underground’s first album started a band. Everyone who bought Women’s ‘Public Strain’ started a Bandcamp." [2] [39] Russel reflected upon the album's legacy in the light of Women's subsequent breakup: [5]

It was not exactly easy material to get into ... We were going down that road of trying to [get an audience] when it all imploded. So it was both a story about us being excited about a record ... and not seeing it come to fruition because two months later it wasn’t being talked about anymore ... The story was over. It had its impact more as a long-term influence on other artists.

Track listing

No.TitleLength
1."Can't You See"3:41
2."Heat Distraction"4:05
3."Narrow With the Hall"2:37
4."Penal Colony"2:39
5."Bells"3:22
6."China Steps"4:22
7."Untogether"3:09
8."Drag Open"4:53
9."Locust Valley"4:15
10."Venice Lockjaw"2:48
11."Eyesore"6:25
Total length:42:18

Personnel

Derived from the album's Bandcamp page [3] and liner notes. [20]

Women

Technical

Notes

  1. 1 2 According to multiple reviews, the album was released on September 28, 2010. [1] [2] Women's Bandcamp page lists the release date as August 24, 2010; [3] musicOMH states that the date for the United Kingdom was August 23, 2010. [4]
  2. 1 2 According to a retrospective interview with Flegel in 2020, the recording process was about 10 months; [6] in an earlier 2010 interview with Anthony Fantano, he says it was about 8 months. [9] VanGaalen says that it was "9 months of us hanging out". [7]

Related Research Articles

<span class="mw-page-title-main">Lou Reed</span> American rock musician (1942–2013)

Lewis Allan Reed was an American musician and songwriter. He was the guitarist, singer, and principal songwriter for the rock band The Velvet Underground and had a solo career that spanned five decades. Although not commercially successful during its existence, the Velvet Underground came to be regarded as one of the most influential bands in the history of underground and alternative rock music. Reed's distinctive deadpan voice, poetic and transgressive lyrics, and experimental guitar playing were trademarks throughout his long career.

Post-rock is a subgenre of experimental rock characterized by the exploration of textures and timbres as well as non-rock styles, often with minimal or no vocals, placing less emphasis on conventional song structures or riffs than on atmosphere for musically evocative purposes. Post-rock artists can often combine rock instrumentation and rock stylings with electronics and digital production as a means of enabling the exploration of textures, timbres and different styles. The genre emerged within the indie and underground music scenes of the 1980s and 1990s, but as it abandoned rock conventions, it began to show less musical resemblance to conventional indie rock at the time. The first wave of post-rock derives inspiration from diverse sources including ambient, electronica, jazz, krautrock, psychedelia, dub, and minimalist classical, with these influences also being pivotal for the substyle of ambient pop.

<i>The Velvet Underground & Nico</i> 1967 studio album by the Velvet Underground and Nico

The Velvet Underground & Nico is the debut studio album by the American rock band the Velvet Underground and the German singer Nico. Released by Verve Records in March 1967, the album underperformed in sales and polarized critics upon release due to its abrasive, unconventional sound and controversial lyrical content. It later became regarded as one of the most influential albums in rock and pop music and one of the greatest albums of all time.

<i>The Velvet Underground</i> (album) 1969 studio album by the Velvet Underground

The Velvet Underground is the third studio album by the American rock band the Velvet Underground. Released in March 1969 by MGM Records, it was their first record with multi-instrumentalist Doug Yule, who replaced previous member John Cale. Recorded in 1968 at TTG Studios in Los Angeles, California, the album's sound—consisting largely of ballads and straightforward rock songs—marked a notable shift in style from the band's previous recordings. Lead vocalist Lou Reed intentionally did this as a result of their abrasive previous studio album White Light/White Heat (1968). Reed wanted other band members to sing on the album; Yule contributed lead vocals to the opening track “Candy Says” and the closing track "After Hours" is sung by drummer Maureen Tucker.

<i>White Light/White Heat</i> 1968 studio album by the Velvet Underground

White Light/White Heat is the second studio album by the American rock band the Velvet Underground. Released on January 30, 1968, by Verve Records, it was the band's last studio album with multi-instrumentalist and founding member John Cale. Recorded after band leader Lou Reed fired Andy Warhol, who had produced their debut album The Velvet Underground & Nico, they hired Steve Sesnick as a manager and hired producer Tom Wilson, who had worked on the band's debut. White Light/White Heat was engineered by Gary Kellgren.

<i>Loaded</i> (Velvet Underground album) 1970 studio album by the Velvet Underground

Loaded is the fourth studio album by the American rock band the Velvet Underground, released in November 1970 by Atlantic Records subsidiary Cotillion. It was the final album recorded featuring the band’s remaining original members, including the lead singer and primary songwriter Lou Reed, who left the band shortly before the album's release, and the guitarist Sterling Morrison, who left the band in 1971 along with the drummer Maureen Tucker. For this reason, it is often considered by fans to be the last "true" Velvet Underground album. The multi-instrumentalist Doug Yule remained and released the album Squeeze in 1973 before the band's dissolution the same year.

<span class="mw-page-title-main">Hoobastank</span> American rock band

Hoobastank is an American rock band formed in 1994 in Agoura Hills, California, by lead vocalist Doug Robb, guitarist Dan Estrin, drummer Chris Hesse, and original bassist Markku Lappalainen. They were signed to Island Records from 2001 to 2012 and have released six albums and one extended play to date. Their most recent album, Push Pull, was released in May 2018. They have sold 10 million albums worldwide.

<span class="mw-page-title-main">Moe Tucker</span> American musician and singer (born 1944)

Maureen Ann "Moe" Tucker is an American musician, singer, and songwriter who achieved international fame as the drummer of the rock band the Velvet Underground. Tucker occasionally sang lead vocals with the group, including the songs "After Hours" and "I'm Sticking With You".

<span class="mw-page-title-main">Doug Yule</span> Musical artist

Douglas Alan Yule is an American musician and singer, most notable for being a member of the Velvet Underground from 1968 to 1973, serving as the bassist, guitarist, keyboardist and vocalist.

<i>Lou Reed</i> (album) 1972 studio album by Lou Reed

Lou Reed is the debut solo studio album by American rock musician Lou Reed, released in May 1972 by RCA Records, two years after he left the Velvet Underground. It was produced by Richard Robinson and Reed and features London session musicians as Reed's backing band, two of whom, Rick Wakeman and Steve Howe, were from the British progressive rock band Yes. Wakeman recalled that during the recording sessions, "the lights had to be out so nobody could see." The album was recorded at Morgan Studios in London, between December 1971 and January 1972.

<i>Squeeze</i> (The Velvet Underground album) 1973 studio album by the Velvet Underground

Squeeze is the fifth and final studio album released under the Velvet Underground band name, recorded in the autumn of 1972 and released in February 1973 by Polydor Records. The album features Doug Yule from the Lou Reed-era lineup of the group, who wrote and recorded the album almost entirely by himself. Yule had joined the Velvet Underground in October 1968, prior to the band recording their self-titled third album, and Yule had also contributed significantly to the fourth album, Loaded. Following the departures of the remaining founding members, Yule was positioned as the de facto leader of the band. Longtime drummer Maureen Tucker was slated to appear on Squeeze by Yule, but she was dismissed by the band's manager, Steve Sesnick.

<span class="mw-page-title-main">Chad VanGaalen</span> Musical artist

Chad VanGaalen is a Canadian musician, animator, and artist from Calgary, Alberta.

"Heroin" is a song by American rock band the Velvet Underground, released on their 1967 debut album The Velvet Underground & Nico. Written by Lou Reed in 1964, the song, which overtly depicts heroin usage and its effects, is one of the band's most celebrated compositions. Critic Mark Deming of Allmusic writes, "While 'Heroin' hardly endorses drug use, it doesn't clearly condemn it, either, which made it all the more troubling in the eyes of many listeners." In 2004, it was ranked at number 448 on Rolling Stone's list of "The 500 Greatest Songs of All Time", and was re-ranked at number 455 in 2010.

<span class="mw-page-title-main">I'm Waiting for the Man</span> 1967 song by the Velvet Underground

"I'm Waiting for the Man" is a song by American rock band the Velvet Underground. Written by Lou Reed, it was first released on their 1967 debut album, The Velvet Underground & Nico. The lyrics describe a man's efforts to obtain heroin in Harlem.

<span class="mw-page-title-main">The Velvet Underground</span> American rock band

The Velvet Underground was an American rock band formed in New York City in 1964. It originally comprised the singer and guitarist Lou Reed, the Welsh multi-instrumentalist John Cale, the guitarist Sterling Morrison and the drummer Angus MacLise. In 1965, MacLise was replaced by Moe Tucker, who played on most of the band's recordings. Though their integration of rock and the avant-garde earned them little commercial success, they are now widely regarded as one of the most influential bands in rock, underground, experimental, and alternative music. Their provocative subject matter, experimentation, and nihilistic attitude were also instrumental in the development of punk rock, new wave and several other genres.

Women was a Canadian indie rock band formed in Calgary in 2008. The group consisted of Patrick Flegel, Christopher Reimer, Matt Flegel and Mike Wallace.

<i>Women</i> (album) 2008 studio album by Women

Women is the debut studio album by Calgary band Women, recorded by fellow Calgary-native Chad VanGaalen. It was released in 2008 on VanGaalen's Flemish Eye record label in Canada, and on Jagjaguwar in the US. The song "Sag Harbor Bridge" is a direct reference to the suicide of the artist Ray Johnson, like "Locust Valley" and "Venice Lockjaw" on Women's second album of 2010, Public Strain.

<span class="mw-page-title-main">Preoccupations</span> Canadian post-punk band

Preoccupations is a Canadian post-punk band from Calgary, Alberta; the band formed in 2012 under the name Viet Cong. The band consists of Matt Flegel, Scott Munro, Daniel Christiansen (guitar) and Mike Wallace (drums). Flegel and Wallace had previously been members of the band Women, which broke up in 2010. The group's musical style has been described as "labyrinthine post-punk".

<span class="mw-page-title-main">Archie, Marry Me</span> 2013 song by indie pop band Alvvays

"Archie, Marry Me" is a song by Canadian indie pop band Alvvays. It was released on April 6, 2013, as the lead single from the band's eponymous debut album (2014). "Archie, Marry Me" examines modern romance and traditional marriage, and touches on themes of commitment and financial stability. It was written by vocalist and guitarist Molly Rankin with guitarist Alec O'Hanley as a critique of the standard societal expectation that one is to marry upon entering adulthood.

<i>Whats Tonight to Eternity?</i> 2020 studio album by Cindy Lee

What's Tonight to Eternity? is the fifth studio album from Canadian music project Cindy Lee, headed by Patrick Flegel. Released in early 2020 through W.25th, the album was thematically influenced by the life of musician Karen Carpenter, which Flegel related to deeply on a personal level. The stylistically eclectic album was preceded by the release of 2 singles, and received highly positive reviews from critics who have described it as provocative, eerie and haunting. It was notably longlisted for the 2020 Polaris Music Prize.

References

  1. 1 2 3 Fitzmaurice, Larry (September 13, 2010). "'Eyesore'". Pitchfork. Archived from the original on January 3, 2022. Retrieved January 3, 2022.
  2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Zupko, Sarah (March 11, 2021). "Is Women's Art Rock Album 'Public Strain' a Lost Classic?". PopMatters . Archived from the original on December 28, 2021. Retrieved December 28, 2021.
  3. 1 2 3 4 "Public Strain, by Women". Bandcamp. Archived from the original on December 28, 2021. Retrieved December 28, 2021.
  4. 1 2 Paton, Daniel. "Women - Public Strain". musicOMH . Archived from the original on August 29, 2010. Retrieved January 30, 2022.
  5. 1 2 3 4 5 6 Volmers, Eric (October 7, 2020). "The great implosion: A look back at the strange history of Women's Public Strain". Calgary Herald . Archived from the original on February 7, 2021. Retrieved February 5, 2021.
  6. 1 2 3 4 5 6 7 8 9 Flegel, Patrick (February 20, 2020). "Revolution Rock – Patrick Flegel (of Cindy Lee/Women) Interview" (Interview). Interviewed by Dave and Adam. Revolution Rock. Archived from the original on January 4, 2022. Retrieved January 4, 2022.
  7. 1 2 3 4 Locke, Jesse (April 8, 2021). "Chad VanGaalen". Tracing Spaces (Podcast). Event occurs at 28:52. Archived from the original on December 28, 2021. Retrieved December 28, 2021 via Apple Podcasts.
  8. 1 2 Wallace, Michael (February 20, 2020). "Revolution Rock – Michael Wallace (of Preoccupations/Women) Interview" (Interview). Interviewed by Dave and Adam. Revolution Rock. Archived from the original on January 4, 2022. Retrieved January 4, 2022.
  9. 1 2 3 4 5 6 7 8 9 Flegel, Patrick (August 12, 2010). "TND Tumblr" (Interview). Interviewed by Anthony Fantano. Tumblr. Archived from the original on December 28, 2021. Retrieved December 28, 2021.
  10. 1 2 3 4 5 Lymangrover, Jason. "Public Strain – Women". AllMusic. Archived from the original on May 13, 2019. Retrieved May 13, 2019.
  11. 1 2 3 Wright, Lisa (August 23, 2010). "Album review: Women – 'Public Strain' (Jagjaguwar)". NME . Archived from the original on October 20, 2012. Retrieved May 13, 2019.
  12. 1 2 3 4 5 Grimes, Michael (September 30, 2010). "Women | Public Strain". The Boston Phoenix . Archived from the original on October 26, 2012. Retrieved May 13, 2019.
  13. 1 2 3 Konstantino, David (February 20, 2021). "Revolution Rock: Women's Public Strain & Other Music: An Interview With Patrick Flegel & Michael Wallace & Show". Revolution Rock. Archived from the original on December 28, 2021. Retrieved December 28, 2021.
  14. 1 2 3 4 5 Leitko, Aaron (September 30, 2010). "Women: Public Strain". Pitchfork . Archived from the original on April 26, 2019. Retrieved May 13, 2019.
  15. 1 2 3 Buckle, Chris (July 26, 2010). "Women – Public Strain". The Skinny . Archived from the original on May 13, 2019. Retrieved May 13, 2019.
  16. 1 2 3 4 5 Lukowski, Andrzej (August 27, 2010). "Album Review: Women – Public Strain". Drowned in Sound . Archived from the original on May 23, 2019. Retrieved May 13, 2019.
  17. 1 2 3 4 5 Kloke, Joshua (November 23, 2010). "Women: Public Strain". PopMatters. Archived from the original on May 13, 2019. Retrieved May 13, 2019.
  18. 1 2 3 Sentz, Tim (October 8, 2020). "Second Look: Women – Public Strain". Beats Per Minute . Archived from the original on January 25, 2021. Retrieved February 5, 2021.
  19. Douglas, Martin (November 8, 2010). "'Narrow With the Hall'". Pitchfork. Archived from the original on January 3, 2022. Retrieved January 3, 2022.
  20. 1 2 "Public Strain". Flemish Eye Records. Archived from the original on December 28, 2021. Retrieved January 4, 2022.
  21. Young, Alex (September 10, 2010). "Women map out fall tour with Liars and dd/mm/yyyy". Consequence . Retrieved January 30, 2022.
  22. 1 2 "Public Strain by Women reviews". AnyDecentMusic?. Archived from the original on March 4, 2012. Retrieved March 6, 2012.
  23. 1 2 3 "Reviews for Public Strain by Women". Metacritic. Archived from the original on July 17, 2018. Retrieved May 13, 2019.
  24. "Women: Public Strain". Mojo (202): 96. September 2010.
  25. Cohen, Ian (November 3, 2010). "Women, 'Public Strain' (Jagjaguwar)". Spin . Archived from the original on October 19, 2012. Retrieved May 13, 2019.
  26. "Women: Public Strain". Uncut (161): 114. October 2010.
  27. 1 2 "Women – Public Strain (album review 5)". Sputnikmusic. December 16, 2010. Retrieved December 28, 2021.
  28. Coplan, Chris (September 28, 2010). "Public Strain". No Ripcord. Archived from the original on December 28, 2021. Retrieved December 28, 2021.
  29. Thiessen, Brock (November 25, 2010). "Pop & Rock Year in Review". Exclaim!. Archived from the original on January 3, 2022. Retrieved January 3, 2022.
  30. "Staff Lists: The Top 50 Albums of 2010 | Features". Pitchfork. December 16, 2010. Archived from the original on March 6, 2012. Retrieved March 6, 2012.
  31. Webb, Rob. "Review of Women – Public Strain". BBC. Archived from the original on March 16, 2021. Retrieved December 28, 2021.
  32. Carter, Ashley (June 16, 2011). "2011 Polaris Music Prize Long List announced". A.Side TV. Archived from the original on October 2, 2015. Retrieved December 29, 2015.
  33. "Top 100 Albums of the 2010s: #10–1". Sputnikmusic. April 10, 2020. Retrieved December 8, 2020.
  34. Cantalini, Chris (September 20, 2019). "Gorilla vs. Bear's albums of the decade | 2010–2019". Gorilla vs. Bear . Archived from the original on December 14, 2019. Retrieved January 1, 2022.
  35. "2010s: Favorite 100 Music Releases of the Decade". Tiny Mix Tapes . December 19, 2019. Archived from the original on January 3, 2022. Retrieved January 1, 2022.
  36. "Exclaim!'s 50 Best Canadian Albums of the 2010s". Exclaim!. October 31, 2019. Archived from the original on October 9, 2020. Retrieved November 30, 2020.
  37. "The 2010s: Artists Pick Their Top 10 Albums of the Decade". Flood. November 27, 2019. Archived from the original on October 24, 2020. Retrieved October 30, 2020.
  38. Barker, Emily (September 19, 2014). "Foo Fighters, The Killers, St Vincent – 30 Huge Artists On Their Favourite 'Lost' Albums". NME. Archived from the original on February 10, 2021. Retrieved February 5, 2021.
  39. Martin, Josh (September 28, 2020). "Women announce rarities EP, 10th anniversary reissue of 'Public Strain'". NME. Retrieved January 30, 2022.