The innocuous, Chinese-themed album cover and smiling faces on Chop Suey from relocated
Philippine band Prettier Than Pink (http//www.prettierthanpink.com) are completely deceptive. This
is actually an acid-washed psychedelic record blooming with pop-punk energy and sweat-inducing
funk.
Chop Suey opens with the cinematic punch of "Mars," a druggy jam that immediately reveals the
group's intoxicating, breathtaking chemistry-frenzied percussion, mind-bending wah-wah riffs, and
chynky, heart-thumping bass lines. Vocalist/ guitarist Lei Bautista, clearly influenced by the
Beatles, uses her voice as instrument, reflecting the sense of wonder and weirdness in the lyrics. If
indie-pop is going to have its own "Lucy In The Sky With Diamonds," it might be "Mars."
However, do not get the impression that Prettier Than Pink are '60s revivalists. These lasses
summon several decades of pop music as each track seems to have originated from a particular era.
"Kryptonite" captures the manic energy of early '80s New Wave with its unyielding exuberance; it's
as invigorating disco rock of late '70s Blondie but with deeply psychedelic shadings.
Amidst the gloom and drone of many of today's alternative, Prettier Than Pink have actually
developed a bouncy, ironic sense of humor, especially on the jaw-droppingly funny satire "Hair" and
the fork-tounged "Little Men, Big Cars." "You're right, chicks dig the car/ Only if real men drive
them" sings Bautista with sugar-coated sweetness on "Little Men, Big Cars," tricking listeners -
including this admittedly macho Englishmen - into humming along to a scathing put down. This is
feminism donw right - no self - righteous rubbish, merely a pop tart spiked with malice.
Listen carefully and you'll be able to discern the band's key inspirations aside from the
aforementioned Beatles and Blondie; there are glimpses of Echo & the Bunnymen, Siouxsie & the
Banshees, and the Smiths in the grooves but there is none of the blatant thievery that Coldplay and
Ferdinand are guilty of.
While much of Chip Suey is fun and even funny, it has its serious moments, too. The spectral
"Johnny Blaze" is a black-clad ballad with a dreamy vocal from Bautista and effectively creepy
percussion from Ann Connolly. "Baby" is a tender love song that owes a huge debt to the Beach
Boys. However, the artistic peak of Chop Suey is on its climax. The epic guitar sweep and theatrical
drums of "Irish Rose." If U2 had a female singer, they would've sounded like this. Capturing U2's
widescreen sonics is a Herculean task that many artists aim for and fail to accomplish, yet Prettier
Than Pink pull it off with grace and rejuvinating power. "Irish Rose" is spectacular.
Cheers to one of the year's most imoressive records.
- Adam Harrington, Whisperin and Hollerin (UK)
Philippine band Prettier Than Pink (http//www.prettierthanpink.com) are completely deceptive. This
is actually an acid-washed psychedelic record blooming with pop-punk energy and sweat-inducing
funk.
Chop Suey opens with the cinematic punch of "Mars," a druggy jam that immediately reveals the
group's intoxicating, breathtaking chemistry-frenzied percussion, mind-bending wah-wah riffs, and
chynky, heart-thumping bass lines. Vocalist/ guitarist Lei Bautista, clearly influenced by the
Beatles, uses her voice as instrument, reflecting the sense of wonder and weirdness in the lyrics. If
indie-pop is going to have its own "Lucy In The Sky With Diamonds," it might be "Mars."
However, do not get the impression that Prettier Than Pink are '60s revivalists. These lasses
summon several decades of pop music as each track seems to have originated from a particular era.
"Kryptonite" captures the manic energy of early '80s New Wave with its unyielding exuberance; it's
as invigorating disco rock of late '70s Blondie but with deeply psychedelic shadings.
Amidst the gloom and drone of many of today's alternative, Prettier Than Pink have actually
developed a bouncy, ironic sense of humor, especially on the jaw-droppingly funny satire "Hair" and
the fork-tounged "Little Men, Big Cars." "You're right, chicks dig the car/ Only if real men drive
them" sings Bautista with sugar-coated sweetness on "Little Men, Big Cars," tricking listeners -
including this admittedly macho Englishmen - into humming along to a scathing put down. This is
feminism donw right - no self - righteous rubbish, merely a pop tart spiked with malice.
Listen carefully and you'll be able to discern the band's key inspirations aside from the
aforementioned Beatles and Blondie; there are glimpses of Echo & the Bunnymen, Siouxsie & the
Banshees, and the Smiths in the grooves but there is none of the blatant thievery that Coldplay and
Ferdinand are guilty of.
While much of Chip Suey is fun and even funny, it has its serious moments, too. The spectral
"Johnny Blaze" is a black-clad ballad with a dreamy vocal from Bautista and effectively creepy
percussion from Ann Connolly. "Baby" is a tender love song that owes a huge debt to the Beach
Boys. However, the artistic peak of Chop Suey is on its climax. The epic guitar sweep and theatrical
drums of "Irish Rose." If U2 had a female singer, they would've sounded like this. Capturing U2's
widescreen sonics is a Herculean task that many artists aim for and fail to accomplish, yet Prettier
Than Pink pull it off with grace and rejuvinating power. "Irish Rose" is spectacular.
Cheers to one of the year's most imoressive records.
- Adam Harrington, Whisperin and Hollerin (UK)
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