First things first, DO NOT judge this album the first time you listen to it. That’s what I was tempted to do, because in all honesty, after listening to Screens once through I was a little disappointed. It seemed to me like The Mint Chicks had lost a little of the magic that made Crazy? Yes! Dumb? No! such a good album, but I decided to hold my criticisms until I had listened to the album at least 2 or 3 more times. It ended up being a very very good decision, as the more I listened, the more I warmed to the album. Barely a week later I have completely changed my mind, and can confidently say that Screens is nothing less than incredible.
The Mint Chicks make spazzy, heavy, poppy music with lyrics about things like sports teams, love, death, obsession, and drug addiction. Turn ons: the Buzzcocks, comic books, A Clockwork Orange, Refused, speedfreaks, Devo, At the Drive-In, Flying Nun Records, Public Image Ltd, bright colours, black, the Beach Boys, Naked Lunch, Slayer ringtones, Pro tools, Miles' electric period, Grand Theft Auto, Black Sabbath, ring mod pedals, psychedelia, Roy Orbison, and the Locust.
Playing packed-out little venues in New Zealand since 2002, the Mint Chicks (singer and wurlitzer piano player Kody Nielson, bassist Michael Logie, drummer Paul Roper and guitarist Ruban Nielson) have climbed all the PA's, back flipped off all the drum risers, bloodied all the fingers, scrapped all the haters, broken all the hearts, ripped all the clothing, bashed all the microphones and smashed all the bottles in preparation for the release of their newest and most exciting record: 'Crazy?Yes!Dumb?No!'.
'Octagon, Octagon, Octagon' came in 2003, the Mint Chicks had just signed to legendary NZ label Flying Nun Records. It's influences were varied and it's local impact was felt immediately, taking student radio by storm with 4 number 1's and 5 'bnet' awards, even though it was only a six-track document of youthful enthusiasm and little bit of home-made inventiveness (the band militantly self produce/engineer their records, do their own artwork and designed their own website). This was the sound of hardcore damaged beyond repair by bubblegum, LSD and artschool.
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