IMPOSE
{While the live album, recorded by Steve Albini (who helped the band become darlings with 2012’s Ugly), perfectly captures the Screaming Females’ talent, translating the band’s memorable and often better live versions of their catalogue to record, there’s something not quite captured. And that something is how downright fucking impressive Marissa Paternoster is, particularly when you see her face-to-face.}
LE SIGH
{Screaming Females has always been the type of band that never seeks assurance from anyone, and this has never been more evident than on Live At the Hideout. The group marinates in their time onstage, promising more than familiar versions of fan favorites. Screaming Females sound ferocious on their studio recordings, but this Steve Albini-produced record captures the raw intimacy of a tiny venue.}
CHICAGO READER
{You can hear it in the way Paternoster’s ringing, fuzzed-out guitar hangs over the end of “Leave It All Up to Me” to overlap with the quiet, downcast bass-­driven intro to “Foul Mouth”; you can hear it in the brief, mumbled banter Paternoster manages after her blustery shouting on “Lights Out”; and whenever the music dies down, you can hear it in the crowd’s rapturous cheering}
PITCHFORK
COOL DAD
ORDER THE ALBUM HERE

IMPOSE

{While the live album, recorded by Steve Albini (who helped the band become darlings with 2012’s Ugly), perfectly captures the Screaming Females’ talent, translating the band’s memorable and often better live versions of their catalogue to record, there’s something not quite captured. And that something is how downright fucking impressive Marissa Paternoster is, particularly when you see her face-to-face.}

LE SIGH

{Screaming Females has always been the type of band that never seeks assurance from anyone, and this has never been more evident than on Live At the Hideout. The group marinates in their time onstage, promising more than familiar versions of fan favorites. Screaming Females sound ferocious on their studio recordings, but this Steve Albini-produced record captures the raw intimacy of a tiny venue.}

CHICAGO READER

{You can hear it in the way Paternoster’s ringing, fuzzed-out guitar hangs over the end of “Leave It All Up to Me” to overlap with the quiet, downcast bass-­driven intro to “Foul Mouth”; you can hear it in the brief, mumbled banter Paternoster manages after her blustery shouting on “Lights Out”; and whenever the music dies down, you can hear it in the crowd’s rapturous cheering}

PITCHFORK

COOL DAD

ORDER THE ALBUM HERE

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