The Whigs Albums (2)
What The Critics Say
Perhaps it isn't intentional that the Whigs' name is a truncation of the Afghan Whigs -- this quartet doesn't sound much like the arty soul-rock of Greg Dulli's Cleveland outfit -- but it's surely deliberate that this trio recalls alt-rock's heyday of 1993 on their second album, Mission Control. Not that Mission Control would have held its own with Gentlemen or Saturation if it showed up in 1993, but this tight, 11-track collection niftily clocking in at under 40 minutes, has the sound and feel of the bottom of 120 Minutes' Buzz Bin (not to mention the look: those defaced '70s snapshots are uncannily reminiscent of the '90s). The Whigs are vaguely rootless, sounding like any number of '90s alt-rock favorites -- those rolling, octave-jumping guitars could be compared to Pavement, those growling guitars could be compared to Guided by Voices, those harmonies and hooks may be lifted from the Foo Fighters, their po-faced lack of pretension either recalls the Replacements or, if you're less charitable, Better Than Ezra -- without sounding like anyone in particular. Which doesn't mean that they have a unique identity; rather, they play like an alt-rock revue, hitting all the highlights but not channeling it into a distinctive sound. They have enough clatter and commotion to keep Mission Control moving at a brisk pace, but they could use some extra oomph -- Parker Gispert's voice fades beneath his guitars, giving this a strange listlessness -- and they would really benefit from hooks that were finally honed instead of riffs and vocals that seem to circle around the melody instead of confronting them straight on. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
This 2005 indie release was scooped up and reissued by ATO a year later after Rolling Stone named the Athens, GA trio one of the "Ten Artists to Watch" in April of 2006. It's usually a good sign when a band creates a buzz without major-label money or influence, and that's the case with the Whigs (not to be confused with the Afghan Whigs). With a classy sound somewhere between catchy '60s pop, Gomez-styled bluesy indie rock, and a Southern sensibility, the Whigs' songs are snappy, tight, and free of excess fat. Their secret weapon is the interplay between keyboards and guitar; it's organic and far from slick. A bit of Elvis Costello circa "Pump It Up" drives "OK, Alright," and the raw, unsweetened quality of the music harkens back to punk's early days. Lead singer Parker Gispert's talk/sung vocals, with their natural rasp, are nonchalantly distinctive and grow more engaging as the project unwinds. Despite the rather aggressive title and cover art, there are more midtempo ballads than rockers, and the tone of the disc falls on the melancholy side. The sound is full without being slick. The Whigs prove that they are excellent producers of their own music and have a strong sense of dynamics as instruments enter and exit, staying just long enough for emphasis. Dueling vocals also weave around themselves on the lovely "Say Hello," and even though the lyrics seem to be stream of consciousness, they work well with the often unpredictable music that twists in unexpected but not unnatural directions. "Half a World Away" is a highlight as it features a lurching guitar solo set against a funeral organ and gently throbbing drums. The closing "All My Banks" is an artsy yet unpretentious minor-key piece which, at nearly seven minutes, is also the album's longest track. The horns that augment it expand the sound into new and fascinating directions that the group will hopefully explore more fully with a larger budget on their sophomore release. ~ Hal Horowitz, All Music Guide
