The MiGs “The MiGs”
Self-Released
Every young child who aspired to be a fighter pilot from the
“Top Gun” era remembers MiGs to be the evil, shadowy
airplanes flown by evil, shadowy Communists, an emblem of all
things un-American and nasty. Thus, listening to the self-titled
album by this L.A. sextet is a little confusing. The name belies a
tough, overbearing military force, but the music is as far removed
from that image as possible. Frontman Bernard Yin’s airy,
enjoyable vocals dance around above deliciously cheesy synthesizers
and dippy guitars to make for some killer tunes. This isn’t
the music of faceless, oppressive Soviets””mdash;it’s corny
fun at its best. On the eight-song album, the band crafts an odd
blend of Beach Boys pop, They Might Be Giants eclecticism and,
well, just about anything else that comes along. Though the MiGs
steer clear of overtly serious territory, the band can definitely
put together some interesting blends. “1600 Armadillos”
borrows Nashville country guitars, “Too Many People”
kicks off in a funk groove and “Honolulu” could be come
straight from your dentist’s waiting room. Not too many
groups can switch gears from hard rock to easy listening
convincingly, but these guys rise to the task without too much
trouble. Even the mariachi-esque excursion of “Muchacha
#3″ comes across impressively, largely due to the addition of
DJ Bonebrake on marimba and Jeff Veal on trumpet. So while the
group may not live up to its tough-sounding name, it succeeds in
crafting some tasty tunes. Those looking to raise their
consciousness may want to look elsewhere, but for folks just
looking for a good time, the MiGs are your band.
Brent Hopkins Rating: 7
Pitchshifter “Deviant” MCA Records
Pitchshifter once played on MTV’s Spring Break Special
where lead singer Jonathan Clayden and company hit the stage and
let it rip. But the dumbfounded looks in the audience revealed that
no one knew quite what to think or feel. After listening to their
latest album, “Deviant,” neither will you. Considering
today’s tonally-challenged rock scene, it’s somewhat of
a miracle that Pitchshifter isn’t a certified star. In a
market saturated with abrasive guitar work and barbaric drumming,
the Nottingham, England outfit have quietly carved out a legion of
fans based on the strength of industrial-sized guitar riffs and
danceable breakbeats. “Deviant” builds on
Pitchshifter’s hook-friendly back catalogue with the same
emphasis on solid pop-smithing, all the while staying true to the
aggression and intensity that characterizes the group’s live
shows. At times, “Deviant” tend to be dominated by
schizophrenia and chaos, leaving you feeling like one of those
dazed spring-breakers. “Deviant” starts out heavy and
powerful with “Condescension,” a rock track with a
throbbing dance pulse that represents some of Pitchshifter’s
strongest work to date. While the band could have easily remade
“Genius,” the smash-single from
“www.pitchshifter.com” a dozen times over, tracks like
“Condescension” and the menacing “Chump
Change” show a renewed commitment to diversifying their
potent industrial formula. “Dead Battery,” a
groove-heavy guitar track, and “As Seen on TV,” a song
that features Dead Kennedy’s legend Jello Biafra, are also
easy favorites for new fans. The album’s bouts of
schizophrenia originate not so much from the music per se, but
rather the production. “Deviant” runs so perfectly
smoothly at times, you’ll wish a guitar would slip out of
tune for just for a second. In short, it’s a rock album with
electronica-precision production, and as a result, a lot of the
rawness and visceral kick of Pitchshifter live isn’t
captured. Nevertheless, it’s a reason to see the band in the
flesh, and “Deviant” certainly won’t disappoint
hardcore fans.
Anthony Camara Rating: 7
Sleater-Kinney “All Hands on the Bad One” Kill
Rock Stars
Sleater-Kinney’s fifth album is filled with catchy
melodies coupled with complex lyrics and vocal arrangements. Each
of the 13 tracks carries with it a depth and richness that is rare
to find nowadays. “The Ballad of a Ladyman,” the
album’s lead song, exhibits the band’s expansiveness.
The guitar introduction is low and quiet, but the powerful vocals,
performed by all members of the trio, overlap each other while
themes of breaking guitars and the life of a girl band are
included. But Sleater-Kinney is not only limited to being a girl
band. It is full range of abilities and talent is evident in
following tracks. “Youth Decay” holds a reflective tone
and conveys a somber, melancholic mood reminding us of the
conflicting issue of a parent/child relationship. It yields a very
serious social commentary through a song that is very easy to
listen to. Also, its aggressive vocals immediately confront the
listener since there is no introduction. Additionally, “Was
it a Lie?” retells the tragedy of a young girl’s
suicide. Slow tempos, overlapping vocals, profound lyrics, and
building percussion sounds shape this track on multiple levels.
Perhaps the catchiest and most memorable track is
“You’re No Rock ‘n’ Roll Fun” because
of the simple guitar riffs and arrangements, as well as the
harmonies. More good times with a girl band are expressed here but
the song has a well-crafted and finished sound of its own. Another
standout track is “Leave You Behind” a tune that
comforts the listener over the emotions of breaking up through
beautifully sung harmonies with lines such as: “Wonder how
you looked the day you were erased/Did you disappear?/Were you just
misplaced?/Left behind with no one else to blame/Are you letting
go?/Something lingers on….” More intensity and depth are
communicated in “#1 Must-Have” through calm melodies
and heated lyrics, “Inspiration rests in between my beauty
magazines and my credit card bills.” The chorus replies with,
“No More!” and the second part leads with “Now is
the time.” Lastly, one of the concluding tracks on “All
Hands on the Bad One” is the analogous and witty “Milk
Shake n’ Honey,” an expansive track that contains
experimental and innovative vocals. It is a perfectly solid ending
track for an equally solid album.
Mariko Obrero Rating: 8