SMILE (single, 2026)
this song was created to try and capture the feeling of that second skin - a feeling women are all too familiar with - that curdles and writhes when we're being perceived, and power and entitlement are being projected onto us by men. it's meant to capture the root of rape culture, which is a sense of entitlement to womens' bodies, rooted in patriarchy. this translates to gestures of violence that needle away at us, gradually building in a full on bleed. leers, cat calls, and "innocent" remarks - "why don't you smile, honey?" - translate to more extreme acts of violence - abuse, sexual assault, even murder.
this is the air we breathe.
it's pervasiveness and constancy is mirrored in the repetitive nature of the song, looping the same line again and again until it builds to a chorus of voices, all chanting the same mantra -
"DON'T BAT ONE PITCH."
just walk down the street, don't make eye contact, ignore them, walk tall...
Beyond the chorus arises a woman's cry -
"DON'T! DON'T!! DON'T!!!"
she said no and they're not listening.
she's being raped in the street.
featuring members of Kansas City's iconic band, Frogpond
Heidi Phillips (guitar)
Kristen Conkright (bass)
Michelle Bacon (drums)
recorded at Element Recording, Kansas City KS
Vocals, looping pedal, and song written by Kate McCandless
DOMESTIKA (2020)
DOMESTIKA began as an exploration of what I believed were feminist themes in Bjork's music and a desire to highlight them. This was especially given her latest releases Vulnicura & Utopia, and subsequent interviews. "Domestika" was the original title intended for what became Bjork's iconic Vespertine, until she met Matthew Barney ... the partner who would later cheat on her and file for divorce. There was something I wanted to reclaim in that. This desire was highlighted by my more recent struggles with Motherhood, mental health, and the wounding of being homebound.
In the process I formed a chain of channeled messages ... as if from my Mother ancestors, or Mother Earth herself. Messages of unheard stories, pain, healing, justice, and hope.
This album is my bloody valentine to Motherhood and all the wisdom She gave me. My hope is that this music serves as a kind of balm for my listeners, especially during these trying times.
Vocals, looping pedal, arrangement/mashup, select lyrics:
Kate McCandless
Electronic music (Light Bearer): Nigel Harsch
Engineering: Steve Marek
Mixing and Mastering: Steve Marek
Music & Lyric Inspiration: Bjork
Album Art: Kristina Carr, Tom Gonzalez
gloria, GUITAR (2014)
gloria, GUITAR weaves together canonical rock n’ roll references with a punk, feminist bent as a symbolic reclamation of agency. SHE SPEAKS IN TONGUES’ work is so much about using reference as a way to highlight injustice and submit new narratives that disrupt the Patriarchy and other systems of oppression. This is a creative and symbolic act on my part to reclaim agency and ownership. What we know of as “rock n’ roll” is an app landscape for which to break apart these systems and structures that oppress, marginalize, use, and destroy.
Vocals, guitar - Kate McCandless
Lead Guitar - Eric Schmidt
Bass Guitar - Daniel Majid
Drums - Adrian Vigliano
Samples - Nigel Harsch
All songs performed by she speaks in tongues.
All songs arranged by Kate McCandless.
"Blue" recorded at Emaciated Raiden (aka Dick Cheney's Bunker), Chicago, Ill., 2013. Engineered and mixed by Steve Marek.
Songs 2–6 recorded at CarterCo Recording, Chicago, Ill., 2013. Engineered and mixed by Jonah Kort.
Additional mixing and effects engineering by Curtis Ruptash at The Wayback Machine, Chicago, Ill.
Mastered by Jonathan Schenke.
Cover photo by Shepsu Aakhu.