Music
The best kept secret in music
Press
THE MIMSIES
at the Dragonfly, January 15
The Mimsies personify that highest state of band existence: devoted enough to tour themselves into oblivion to make it happen, yet with sufficient integrity to shun musical compromise in their bid for commercial nirvana. Hence, three years after relocating to L.A. from Norman, OK, they're still at the Dragonfly and continue to confound record labels with their uncooperative (though increasingly to-the-point) compositions.
Two Warped tours have mutated the Mimsies: Though slicker than ever, their show's shaken off the self-conscious, subglam trappings in favor of more organic allures. Likewise the tunes are now lower flash and more fiber, new-wave-tinted rock & raunch bolstered by double-barreled backing vocals. From the deliberate opening chords of "Dirty," matters are more measured now, a self-assurance born of endless road miles. Despite having taken two months off after front gal Casey Castille fractured her back during onstage convulsions, and debuting a new drummer (Adrian Bernardo), the Mimsies are more supple than ever: Castille's voice explores almost-baritone regions, yet summons succulent sustain amid all the vogueing and cajoling; guitarist Jerod Vance has a newfound fluidity, snaking cords of bluesy countermelody around Castille in both stranglehold and caress. Bassist Bryan Showalter is suddenly sufficiently at ease to be part-time MC, his confidence doubtless bolstered by Bernardo's dependable meter and dexterous delivery.
Of course, a Mimsies show is all about Castille, the punk rock Pat Benatar: a woman who can look both slutty and an advert for self-respect, and rock like a mofo while exuding elegance. Radio mikes were invented for Castille, who as ever skips through the throng and onto bars and tabletops to make her point. If the Mimsies captured half the exhilaration of their live show on disc (and they've never come close), they'd light up KROQ like a drunken distress flare.
- Paul Rogers
THE TROUBADOUR; THE MIMSIES
I CAUGHT THE LAST HALF OF THE MIMSIES' SHOW AS I WAS ESCAPING FROM THE AMAZON RAIN FOREST ON SANTA MONICA BLVD INTO THE TROUBADOUR TUESDAY NIGHT. I COULD HEAR WHAT I THOUGHT WAS A FEMALE VOICE AND JUST FROM THE GROWL & INTENSITY, I WAS GROWING IMPATIENT WITH THE DOORMAN, HURRY UP WITH THE DAMN WRISTBAND! AS WE ENTERED THE VENUE, WHICH IS QUITE IMPRESSIVE, WITH A HUGE STAGE AND DRAMATIC LIGHTING, I WAS IMMEDIATELY SCOPING THE STAGE FOR THIS POWERHOUSE WOMAN. SHE WAS NOT FRONT AND CENTER, TO SAY THE LEAST. FIRST, SHE WAS STRADDLING & CLIMBING THE ADJACENT STAIRWAY, THEN KNEE DIVING ON THE DANCE FLOOR, THEN TREKKING UP TO THE SECOND FLOOR OF THE CLUB. WITH A CORDLESS MIKE, GLITTER SPRAYED JEANS, AND A RUFFLED POLKA DOT BLOUSE, SHE WAS A SIGHT AMIDST THE CONFUSED AND BEDAZZLED CROWD. THERE WERE MANY "UH'S", GRUNTS, AND GROWLS DECORATING THE DRIVING, 80'S REMINISCENT HARD ROCK. UNFORTUNATELY, I DIDN'T CATCH THEIR WEB SITE OR THE INDIVIDUAL MEMBERS' NAMES, BUT LOOK FOR THESE PARTY ANIMALS IN THE L.A. WEEKLY. I BELIEVE THE NEXT GIG IS AT THE VIPER ROOM!
- CATALINA ROX
Oklahoma transplants the Mimsies made miraculous strides when they first arrived in Tinseltown a couple of years back, but have recently endured a change of drummers and a parting of ways with their manager. So tonight's showcase was part of this quartet's hands-on effort to re-establish themselves as one of the Strip's most intriguing buzz bands.
Centered around vivacious vocalist Casey Shelton, the Mimsies are a mutant mating of '80s hard rock's anthemic histrionics and darker '90s alternative sensibilities. Yet the Mimsies 2002 offer more coherent, musclebound material than the angular, sometimes obtuse confetti of shifting song structures we witnessed last year. Gone are the pop operettas in favor of more grooving, to-the-point slabs of hand-in-hand guitar and bass punctuated by moments of metal's unifying bombast, beneath lullaby verse melodies and full-throat ranting hooks. While abandoning their previous pseudo-glam trappings -- jeans and T-shirts now flank Shelton's all-black ensemble -- the Mimsies have retained their belief in putting on a show. The vogueing, cajoling Shelton personifies this approach as she prowls the stage lip and booth backs: an in-the-moment, in-your-face and only-in-your-dreams glitz-punk diva, equal parts David Lee Roth and Gwen Stefani.
The opening slot on a Monday night is no walkover, but the Mimsies are instantly embraced by an increasingly crowded room and, as ever, fill it with good will and seemingly ego-free showmanship. Extensive touring has burred the edges from their presentation and pumped their onstage self-esteem, but not at the expense of their songcraft, which continues to mature. Last year's debut album, Trash and Rock and Roll, doesn't come close to capturing the Mimsies' concert clout or charisma, and translating this in the studio remains their Holy Grail. Yet if they continue to raise the songwriting bar, as displayed tonight, they could soon cross the divide between being fan favorites and major-label darlings. - Paul Rogers
Discography
Sex on Demand (EP 1998)
Cherry Cordial (Single 2000)
Trash and Rock & Roll (LP 2001)
American Science (EP 2002)
Photos
Feeling a bit camera shy
Bio
A supernova of sex, sweat and rock-n-roll: How else to describe the Oklahoma-bred Mimsies’ explosion on the L.A. music scene? Actually, there are quite a few other ways. The L.A. Weekly, no small potatoes there, hails them as “Siouxsie & the Banshees meets Motley Crue,” and calls lead songstress Casey Shelton an “in-the-moment and only-in-your-dreams glitter punk diva equal parts Gwen Stefani and Pat Benatar.” Rival publication New Times Los Angeles, in a rare concurrence, praises the “glittery trash-glam quartet” as the best thing since waffles and fried chicken, and advises readers to “get your autograph, piece of clothing, or roll-in-the-sack before the Mimsies blow up like a jumbo-sized vinyl love doll.” Hel-lo, people: There are a gazillion bands in La-la Land, humpin’ those mean Hollywood streets lookin’ for a good review, a kind word, a quarter – whatever. But when it comes to the Mimsies, the vaunted Fourth Estate is reduced to a pack of tongue-wagging basset hounds. And they’re not the only ones. Club owners, label reps, assorted industry types and, most importantly, an ever-expanding base of devoted fans see the Mimsies as a talent-laden foursome destined for greatness, or even better, their own segment on MTV’s “Cribs.” You see, the word is out, the Mimsies are on the rise. But who are the Mimsies and what does that friggin’ name mean? Last query first: “mimsy” is a portmanteau word (get your dictionary out) from Lewis Carroll meaning both miserable and flimsy. The group itself is neither miserable nor flimsy, so go figure. But that name’s way cool, so they’re keeping it. The group’s first guitarist came up with it back inthe day when the Mimsies, with a different lineup, were playing in and around Norman, Oklahoma. With a couple of lineup changes, the group evolved like early man rising from the primordial swamp into its current Guns-n-Roses-esque, rockstar-god-and-goddess status. On the roster, there’s the tattooed Bryan Scott on bass. Equally comfortable with bass, guitar or drums, Bryan’s the Mimsy most likely to be caught doing something illegal in the parking lot after a gig. Pounding out the big beats on drums is the Canadian super-hero Adrian Bernardo. Guitar hero duties fall to the incredibly versatile Jerod Vance. The blonde boy-toy is so laid back, he could’ve been born in SoCal. Last but certainly not least is that stage-diving, bar-dancing ball-o-fire brunette vocalist Casey Castille, about whom it has been said, “ she looks like Natalie Wood, sings like Janis Joplin and performs like Iggy Pop.” Before the Mimsies did their “Road Rules” bit and headed west, where legend has it the boulevards are paved with platinum records, they were the hottest band in Oklahoma. (They still are whenever they’re back home.) They won just about everything you can win in Oklahoma. They triumphed at the 1998 Oklahoma Talent Showcase, were voted Best of Oklahoma 2000 on Mp3’s American Top 50, and on and on. But, their mantelpiece was full, so soon they were all singin’ “California, Here We Come.” Now they’re an L.A. band, with two US tours behind them,their debut CD on tap, the aptly titled “Trash and Rock and Roll,” and a new EP “American Science”. Singles like “Vain Glory”, “Tennessee”, “Cherry Cordial” and the title song of “Trash and Rock & Roll” make you pine for the days when rockers spat fire, trashed hotel rooms and seduced farm daughters right out of their jammies. The Mimsies on on the loose and coming to a stage near you.
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