The landscape of music in the 1990s was a breeding ground for innovation and creativity, giving birth to some of the most iconic names in history.
From the grunge anthems of Nirvana to the experimental sounds of Radiohead, a diverse range of genres dominated the airwaves, marking the decade with an eclectic soundtrack. Yet, for all of the recognizable guitar licks that the decade’s mainstream bore, there was also an important underground scene that was flourishing with its own unique energy.
Among its passionate performers were Austin’s Pam Peltz and Carrie Clark, who continue to be fiercely dedicated to carving out a space for women-fronted acts.
Originating as a cover band in Austin’s vibrant music scene, the Living Pins formed in 1996 as a collaboration between Carrie Clark from Sixteen Deluxe and Pam Peltz from Ursa Major. Together, the duo belted out sounds of T. Rex and The Kinks all over town, utilizing their onstage time together as a cathartic outlet.
The Start of Something New
The Living Pins came together while the two worked at Wheatsville Food Co-op—a grocery store and hub for local indie musicians looking to make a living.
Clark recalls seeing Peltz on stage for the first time before starting her position at Wheatsville and being completely blown away, prompting her to fall in love with the city’s inclusive music scene.
“It felt normal to just walk in and see coed bands or bands that had all women playing,” Clark says of Austin’s music coed scene in the late 1980s leading into the 1990s. “At the time, that was new to me, coming from the Midwest. It was encouraging to say the least.”
During their live set, Peltz sways onstage behind oval sunglasses with the cool-girl aura of Chrissie Hynde to the hypnotic wails of Clark’s guitar. The two tear through each song completely in sync with one another—a feat that only a close friendship could garner.
Growing up on the sounds of Joan Jett, the Velvet Underground and the Rolling Stones plays into the backbone of much of the duo’s original music.
“My mentors were records,” Peltz says. “I really do think The Beatles taught me how to write songs. I would figure out the structures in my head; they taught me how long a song should be, when a chorus feels right or when it doesn’t. By osmosis, I absorbed how to balance songs.”
For Clark, woman-fronted acts with a dominant stage presence were what initially drew her to musicianship.
“The biggest women influences besides the GoGos was the Eurythmics’ Annie Lennox,” she says. “Before MTV, it was Pat Benatar—I think it was the appeal of that powerfulness.”
Smashing the Patriarchy
In the 1990s, however, it wasn’t uncommon for female-led punk bands to embrace feminist and socially conscious themes within their music. Bands like Bikini Kill and Sleater-Kinney, associated with the underground Riot Grrrl movement, used their platform to address issues such as gender equality, harassment and empowerment. This outward display of activism resonated deeply with audiences seeking music that reflected their own social and political beliefs.
Central to the movement was a punk rock DIY spirit, whether it be the food you ate or the clothes you wore. For Clark, who missed the musical generation, the ethos of the Riot Grrrl movement still deeply resonate with her.
“In retrospect, I love it. I think it was a deeper dive into ‘fuck the patriarchy,’” she explains, “and the important thing being not ‘fuck men,’ not ‘fuck masculinity,’ but ‘fuck the patriarchy.’”
Riot Grrrl also fostered a strong sense of community and solidarity among women. It created spaces where women could support each other, share their experiences, and collaborate on creative projects, thereby strengthening their collective voice and impact.
“Every band that is female-fronted or that has a woman driving the political ideology of the band, you can’t ignore,” Clark continues. “It’s impossible.”
When asked if the culture could ever be replicated again, Clark believes that it’s not exactly necessary. Since Rock’n’roll can often be perceived as a constant cycle of borrowing and recycling, it occurs in generational waves.
“If there are a group of politically minded women that are making music to further their political ideas, you can’t ignore the Riot Grrrls,” she says.
The duo’s individual path within the music industry has been a notable ride. While the two have experienced separate journeys before The Living Pins, the universal glue that continues to make them stronger is taking criticism with a grain of salt.
For Peltz, facing criticism only pushes her to put her best foot forward.
“I don’t see it as a gender thing,” she says. “If somebody’s not taking me seriously, either they’re never going to get it, or I can always be a bit better. It just makes me work a little harder.”
Clark highlights the overarching theme of visibility and the different encounters she has faced surrounding recognition for her place as a female musician.
“I would be mistaken for the bass player frequently,” she says. “When Sixteen Deluxe was talking to different producers for our first big record, they would talk to the boys, but they wouldn’t talk to me even though I was the front person and co-songwriter.”
With The Living Pins, however, the two were surrounded by a community of peers who harnessed an encouraging environment.
“I don’t think it’s fair to say that women musicians are like a monolithic culture or that they have a monolithic experience at all,” Clark says. “There’s always the balance of ‘it doesn’t matter at all and I’m just gonna do my thing.’ You’ve got to have both of them.”
The future of The Living Pins continues to look bright. With hopes for new full-length albums and talk of international touring, Peltz and Clark are confident that increased visibility across various professions is crucial for empowering more women to break into the industry.
“Learn from the other women around you; find women who are doing what you want to do—even if their thing is scrappiness and fucking with the man,” Clark says. “Do what makes you happy—that’s kind of the key to everything.”
Peltz chimes in, adding, “Definitely make sure you’re having fun. If it’s not your favorite thing to do then find your favorite thing.”
Catch The Living Pins live when they play at Love Wheel Records on Sept. 7, 2024, from 4 p.m. to 7 p.m.
