Last Thursday, after a particularly long day of coffee-pouring and danish-slinging topped off with a fair bit of lab write-up hell, I was more than ready for the hearty dose of punk noise oblivion offered by Mika-Miko at Friday Night Rock. Though I looked forward to the release of my day's frustration, as a classical musician who prefers the lilting strains of 17th century Baroque music or the more "soothing" branches of indie rock, I was apprehensive about my relative ignorance of the punk music I was about to get blasted with.
As I walked nervously into Fuel, Collis's lower-level nightclub, I was impressed by the artsy ambiance of the dark decor and intimate setting. Though only around 20 people attended the performance, or about half of Friday Night Rock's usual crowd -- probably due to pre-Homecoming festivities and looming midterms -- those who showed were happily engaged in coffee-shop small talk as I entered and chose a corner stool to await the opening band.
Pre, the London-based "noise-rock" band who opened for Mika-Miko, was a mediocre disappointment. Though their guitar riffs and drum beats were quirky and energetic, the inarticulate, quivering and incessantly high-pitched screeching of the lead singer Akiko "Keeks" Matsuura, transformed the potentially cohesive sound into the ravings of a deranged, possibly homicidal adolescent. In the rare moments when her voice ceased, the band managed to create a semblance of music, but just when I thought I would start enjoying myself, the screaming would again overpower the room. In all fairness, Pre is a noise band -- and I expected a certain degree of cacophony -- but there is interesting noise and, well, annoying noise. Unfortunately, Pre exhibited the latter, thanks to the unforgettable screams of Matsuura.
Still, Pre found echoes of redemption in their hyperactively energetic performance and obvious zeal. Though repelled by her voice, I thought Matsuura's wild jumping and otherwise uninhibited movement -- including but not exclusive to rolling around on the floor and banging her microphone into her high hat -- made the deranged teenager act rather adorable and definitely contributed to the audience's enthusiasm.
The fun wasn't limited to Matsuura, however, as the guitarists dressed in matching outfits and during one song actually ran/hopped in place like little punk-rock soldiers. Overall, I doubt I will be purchasing their album "Epic Fits" anytime soon for fear of having my own epic fit (otherwise known as a seizure) triggered by the insanely high-frequency efforts of cute little Matsuura.
Mika-Miko was definitely an improvement from their opening band, though they too suffered from bad vocalist syndrome. Though definitely cacophonous, their strong, insistent beats and retro-sounding riffs were as quirky and more accessible than Pre's, and their lead singer Jennifer Clavin's screeching was moderated enough to allow the fun to come through the music. Overall, the band was strongly reminiscent of '80s punk in their frenzied beats and movements (I'm pretty sure the lead singer burned off at least a dozen Krispy Kreme donuts' worth of calories that night) and completed the imitation with the tone-deaf Clavin's loud, but thankfully medium-pitched, army-sergeant shouting. I definitely hold that without said shouting -- or perhaps more tonal shouting -- the band's sound would be infinitely improved. However, I (and seemingly the rest of the audience) found Mika-Miko's part of the show infectiously exciting and aurally satisfying.
In addition to having a good sound, Mika-Miko's live performance enhanced the off-beat nature of their music. Aside from Clavin's full-body exercises, the band used a number of unique instruments, most notably a fire-engine red plastic telephone that served as a distorted microphone, and an axe-shaped cowbell beaten with a drumstick, pilfered from their own excellent drummer Katelyn Hall. These "props," combined with the unexpected use of a saxophone by backup singer/cowbellist/Jane-of-all-trades Jenna Thornhill, added variety and interest to the songs.
Also notable was the band members' obvious enjoyment of performing and the friendly banter they shared with each other as well as with the audience, which made the already intimate setting even closer and more comfortable. In all, Mika-Miko exemplified all the characteristics of a good punk band -- fast, upbeat, foot-tapping music, great personality, and more than anything, contagious energy.
