Kristeen Young
On tour with Morrissey, the St. Louis native proves that some girls sing bigger than others
By Jeremy Ohmes
Published: June 1st, 2007 | 2:54pm
Let’s asphyxiate the albatross around this siren’s neck right away. Sure, she runs up the same bohemian hills like Kate Bush, and she dabbles down by the dark-humored waters of PJ Harvey. And, yes, she annihilates the ivories like a certain Cornflake Girl. But it’s pioneering, not pastiche, that secures a singer-songwriter-musician multiple recording sessions with legendary producer Tony Visconti, duets with David Bowie, and the praise and friendship of one famously picky Morrissey.
With a vocal range as broad as the Bible Belt and an energy as wild and aggressive as the Mississippi, St. Louis native and New York City transplant Kristeen Young has turned all the right heads with her disarmingly beautiful mix of operatic clamor and propulsively pounded piano and drums. Her songs are arias sung on the end of the world’s eve, sonic sorties dropped from the ever-darkening sky. And they’ve made a fan out of Morrissey, which puts Young on the same list with the New York Dolls, Oscar Wilde, and James Dean — not bad company.
The daughter of Apache and German parents who was later adopted and raised by Christian fundamentalists, Young developed a surreptitious passion for music at an early age, despite her puritanical parents’ forbiddance of the devil’s music in their home. Once in college, she immersed herself in her illicit art, studying piano at St. Louis’ Webster University. She then became involved in the mid-’90s St. Louis music scene, performing with November 9th and Water Works.
Trying, somewhat unsuccessfully, to fit into a scene that prided itself on its alternative country and ska — and not much else — Young decided to take the less-is-more approach. She teamed up with Jeff White to form a piano-and-drum duo, years before the girl-guy musical twosome was cool.
In 1997 she recorded her first solo album, Meet Miss Young and Her All Boy Band, which replaced the pop of her previous bands with a powerful, dissonant, and direct sound. Young released another album in 1999, Enemy, and then punched out of the yawn factory that was pre-millennial St. Louis by moving to New York City.
While garnering some buzz for her arresting performances and satiric sentiment, she met an enthusiastic Tony Visconti, who produced her next two albums — 2003’s Breasticles and 2004’s X, which was a conceptual ode to the Ten Commandments. Though it is her latest 2006 album, The Orphans, that caught the ear of the Pope of Mope, who signed her to his Attack label and invited her to support his Ringleader of the Tormentors tour.
Venus Zine briefly caught up with a surprisingly pithy and reserved Young via e-mail and during the tour that’s sure to put her on many a misanthrope’s map.
You got your start in St. Louis, then moved to New York City. Why did you move? What impact did the move have on your music and style?
I moved because I’d seen too many movies. The music scene [in St. Louis] felt oppressive and I wanted to find the success that had been eluding me. There’s not much “big-time” music industry in Missouri. It didn't have any impact on my style. Actually, it might have mellowed my style a bit, because people in New York aren't as reactive as in Missouri. So, I didn't have as much fun in clubs in New York, but it's New York. It makes you feel like you’re at the epicenter of the world.
How did the Morrissey tour happen? How did he hear your music?
He saw a live video that our producer, Tony Visconti, recorded. He was flummoxed, flabbergasted, and, frankly, taken aback. It was destiny. The next thing I knew, we were in each other’s arms.
Well, besides massive exposure and the confidence that comes with doing a huge tour, what other things have you gained on this tour with Moz?
Three pounds … but none of it the least bit of confidence.
You obviously grew up a Morrissey fan. What’s your favorite Moz song? Your favorite Smiths song?
This is a painful and mean question. There are so many and for so many moods. But right now I'll say "I Know Very Well How I Got My Name." It makes me cry for days. For the Smiths song, I'll say "Unlovable" for the same reason. But "How Soon is Now?" is the best song ever written.
Of course a lot of critics compare you to Kate Bush and Tori Amos, but I'm not even sure if those are influences for you. Who influences your music? And your style?
No one. Everyone.
What current female artists have you been listening to lately?
Judy Garland.
Why do you think rock music is so masculine?
Because it should be: Rock music at its best is violent, striking, masculine sex. There are very few females who can rise to this occasion. I'm one of the few. I'm 65% 35-year-old male, and I have been since I was 8. The other 35% of me loves a tight-fitting pencil skirt and a smart three-corner hat to match.
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