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The Pin-Ups, formerly The Pin-Up Girls, is a renowned independent band formed in 1996 by public figure Mondo Castro along with Keltcross stalwarts Pamela Aquino and Jennifer Tan, brought together by a common love of 80’s new wave and indie rock.

Dubbed the “first Philippine-based band to sign with a U.S. Label,” the band has enjoyed international exposure via airplay and reviews. The Pin-Ups are also the first known Filipino band to be included in a U.K. -based compilation album. In contrast, the band has also received an equal amount of criticism, slammed for being unworthy of global recognition. Nevertheless, it is undeniable that The Pin-Ups have always been and continue to be one of the purveyors and pioneers of the Filipino indie scene.

History

Early Years

Starting out as a garage band in 1995 after frontman Castro was hanging out in a bar, with Aquino and Tan, that was playing one ‘80s New Wave classic after another. This seemingly trivial occasion inspired the trio to form a new group, one that would capture the spirit – if not the sound – of their New Wave icons like Echo & the Bunnymen, the Ocean Blue, and the Lotus Eaters. Soon after they recruited guitarist Ramses Dela Torre (Mass Carnage) and drummer John Carpio (Tame the Tikbalang, Goo, and End of Man) and started jamming at an abandoned hotel. The then unnamed band went through a plethora of names that never stuck, including Blue Cow, Blue Juice, Mushroom, and Bubblegum Crisis.

Guitarist Ryan Nachura (Crimson Daze), Tan’s former high school band mate, and underground scene veteran drummer Noel Garcia (Ethnic Faces, Eraserheads and Color It Red sessionist) eventually joined the band, replacing Dela Torre and Carpio. They were without a permanent name until Tan wore a Bettie Page T-shirt to a rehearsal at then-Eraserheads drummer Raimund Marasigan's house. Marasiagan suggested they name themselves after Page, one of the most famous pin-up girls from the ‘50s.

The band started writing their own songs – poetic, hook-driven tales of domestic violence, unrequited love, romantic devotion, otherworldly adventures – set to three-part male and female vocal harmonies and ringing, shimmering guitars.

Sunday Grabe Sunday (1998-2004)

"Sunday Grabe Sunday", a legendary production started by Castro and award-winning producer (he also recorded The Pin-Ups’ early demos), sound nihilist Jing Garcia, was the showcase held at Mayric’s that made bands like Sandwich, Imago, Twisted Halo, Sugarfree, and The Pin-Ups identifiable to local rock aficionados. Other bands that graced the production night were the Itchyworms, Ciudad, Blast Ople, Dexter Calliope & the Tito Gil Twins, Boldstar, Garlic, Cheese, Greyhoundz, Slapshock, Shiela & the Insects, Urbandub, Tame the Tikbalang, Betrayed, etc.

The buzz and hype that followed eventually led to massive airplay and numerous reviews for the bands. Sunday Grabe Sunday became the seminal blueprint for succeeding band productions.

Hello Pain (2001)

After a few rounds of the now famous Mayric’s garage sales to raise money, The Pin-Ups wrapped up recording their debut album “Hello Pain” under their own label, Broken Records. Executively produced by actor Diether Ocampo (he loaned Castro money for CD manufacturing), produced by Marasigan and engineered by Shinji Tanaka at Sound Creation studios, the album received mostly positive reviews from critics and spawned the underground hit Ride Rocket Wild”. Manila-based radio station NU-107 supported the band by playing the tracks that entered the “Midnight Countdown”: “Broken”, “Hello Pain”, “A Cold & Better Place”, and the number one song “Witching Hour.”

Aside from adding additional guitars, vocals, drums, and synths, Marasigan co-wrote “Burn” and “A Cold & Better Place” with Castro. Imago’s front woman Aia De Leon contributed vocals on “Quicksilver” while Squid 9, Marasigan’s alter ego, remixed “Ride Rocket Wild (The Rocket Science Mix).” Crimson Daze vocalist Jon Malamug also recorded back-up vocals on “Burn.”

The album’s artwork, highlighting a pin-up girl in a leather outfit, was created by world-famous, Filipino graphic artist Leinil Francis Yu (Uncanny X-Men, Superman Birthright, Wolverine, Secret Invasion).

The band was nominated for several categories for the 2001 NU 107 Rock Awards including “Best New Artist”, “Song of the Year.” The music video for “Down”, directed by Quark Henares, won “Rock Video of the Year” at the 2002 NU 107 Rock Awards. “Hello Pain” preceded other notable indie releases like Twisted Halo’s self-titled EP and Rivermaya’s “Free.” The success and critical acclaim of the album was believed to have helped spur the subsequent Filipino independent revolution.

Review From Hello Pain (2001)

"Despite the ebullience of their early singles Ride Rocket Wild and Witching Hour, The Pin-Up Girls serve up a debut album that is rather a moody affair, a patchwork of emotions from joyfully somber to hysterically sad. Filled to the brim to the brim with catchy pop melodies and jangly guitars, the album manages to camouflage the wounded heart at its core, sugarcoating its sourness." -Erwin Romulo, THE PHILIPPINE STAR, October 19, 2001

“The Pin-Up Girls sound like an Eighties-band you can’t quite recall the name of, and they probably like it that way.” - Scott Garceau, THE PHILIPPINE STAR, December 16, 2001

Taste Test & International Success

Michael Sutton, a writer for the All-Music Guide, discovered them by accident on a random NU-107 air check mailed from the Philippines by music fan Denis Batungbacal. Sutton signed The Pin-Ups to Tacoma, Washington’s Know-It-All Records in 2002, making them the first Philippine-based band to be signed to a U.S. label.

Aquino left for the U.S. and was replaced by Jaja Manuel (Girl In Park, who eventually signed with Know-It-All Records and released and album internationally) and Garcia was eventually replaced by Mitch Singson (Ciudad, ex-Sugarfree) as the Pin-Up Girls released their 6-track U.S. debut, "Taste Test," in 2003. The limited-edition CD quickly sold out, and the dreamy ballad "Caress", written and produced by Castro, hit the top ten on NU-107 and stayed at number one for months on end on Flashback Alternatives in New Jersey. The tune was augmented by Jett Ramirez on viola, Anjo Inacay on cello, and Chino David on violin.

Aquino contributed the track “Last Farewell”, featuring Matt Easton of the San Francisco-based indie legends The Jenny Thing.

Yu, again, agreed to do the cover art despite being busy with Marvel Comics, DC Comics and his own band Marty McFly.

In 2004, Taste Test was reissued with several bonus tracks as Taste Test: Expanded Menu, receiving rave reviews in the U.K. and drawing comparisons to the Go-Betweens and the Wake. It was during this time that Manuel left the band and was not replaced.

Reviews for Taste Test & Reactions to U.S. Signing

“The Pin-Up Girls are the Philippines’ best-kept secret. Undeniably the country’s best pop band, the group is only known to a handful of admirers and to their colleagues, their name passed around in whispers and shared looks in underground clubs - Erwin Romulo, THE PHILIPPINE STAR, July 2, 2002

“Clearly, there is a virtue practiced here, paddled to a soft stream and tempering the band’s desire for self-expression, propagation, and survival. That virtue is patience.” - Louie Magdamit, MANILA STANDARD, April 19, 2002

“It’s like something from a movie: hardworking and likeable indie band struggle for years, get signed by hotshot record honcho, and then, after dealing with the peaks and pitfalls, ride off into their happy ending. In this case, the band are local favorites The Pin-Up Girls, and the record honcho is Michael Sutton.” – MTV INK, August 2002

“And for those other unsigned local acts who are now green with envy, it’s worth taking a look at how The PinUp Girls managed to grab the elusive gold ring.” - Scott Garceau, THE PHILIPPINE STAR, June 30, 2003

“The band now has the distinction of being the first Philippine-based rock group to be signed to a U.S. label.” – Iskho Lopez, PINAS: The Nationalist Weekly, November 2003

“Each song is a harsh mistress, enticing one with its gorgeous melodies but with also the threat of a kept dagger beneath the pillow. One need only listen to the first track Caress and hear the aching lament that so many femme fatales use to great effect on would-be Philip Marlowes. The track is an illicit kiss but one that will leave you reeling from its memory just as delicate string arrangement sweetens the blow.” – Erwin Romulo ,'' THE PHILIPPINE STAR, December 2003''

"If American values [i.e. freedom] are going to prevail, we need to be proactive in our cultural consumption. Exploring the music of The Pin-Up Girls is a fine start because there’s nothing really foreign here at all; soothing, melancholy at times yet that fragileness is everywhere, much like the socio-political conditions in the Philippines these days, one assumes." - Stephen Rabow,' posted on various websites including www.indieculturerecords.net, ex-DJ KZAM, KYYX'

"The Pin-Up Girls are all about guitar twang [not the country kind] and sorta shoegazer shimmer. The riffs sparkle and take on dreamy notes. Two chicks and one lad trade off on the vocals, sometimes harmonizing to hypnotic effect… “Spacegrrl Superb” is about beng abducted and played with by aliens. Is there a term for this fetish? The Pin-Ups must be smoking some pretty toxic stuff to write twisted, sick lyrics like that yet it’s all poppy and your parents can drink tea to it without getting too disturbed. – Denny Colt, www.whisperinandhollerin.com

“Music is original, not conforming to contemporary mainstream tastes. There’s not a bum song in the bunch, and these Filipino kids know their hooks inside and out. Darn choruses will get stuck in your head.” - Dan Cassidy 'on songs from “Taste Test: Expanded Menu”, www.reviewcentre.com'

“Not many Filipinos know that a rock ‘n roll band called The Pin-Up Girls, now making good in New Jersey is composed of homegrown [meaning “bred in the Philippines”] Filipino talents. The band has hit No.1 in New Jersey with their first printing of its international CD sold out.” - Ricky Lo, ''THE PHILIPPINE STAR, March 30, 2004

“The next big thing could very well emanate from the Philippines as The Pin-Up Girls have enough talent and personality to achieve rising star status judging by the fresh-faced performances and charismatic singing on their U.S. debut “Taste Test.” – Jim Corrigan, www.whisperinandhollerin.com

Take On The Weakened Sky

In 2005, Sutton took The Pin-Ups with him on his own label, Sutton Records (later renamed Sutton Music Group), which released a Philippine-version of Taste Test in the form of “Take On The Weakened Sky,” a rare compilation of B-sides, original mixes, and demos heavily played on WXB 102, KDHX-FM in St. Louis, Missouri, among others. The album features cover art by Nachura.

All Seats Are Taken & Falling Out

2006 saw the band fronting for one of their idols Fra Lippo Lippi at the Araneta Coliseum as their most ambitious album "All Seats Are Taken” was released in the Philippines by Sony-BMG. The 16-track album features notable guitarists Kakoi Legaspi (ex-Rivermaya, Peryodiko), Castro’s cousin Kenneth Ilagan (ex-Violent Playground, Mulatto, The Dawn), and the late Francis Magalona. The songs were co-produced, mixed, and mastered by award-winning engineer Angee Rozul.

Celebrated award-winning comic book writer and artist Arnold Arre was commissioned by the band to do the album artwork featuring three women in provocative poses. The SM Mall management asked Sony-BMG to alter the promotional posters to a less licentious version.

The album stood as a testament to, what critics and supporters cite as, the best live act of all Pin-Up incarnations. Pared down to a foursome: Castro, Tan, Singson, and Nachura would blow away negative comments from pundits regarding the band’s alleged live inconsistencies. Singles from the album include “Ingay” (reached #4 in the MYX Pinoy Countdown), The House Of Leaves-influenced “The Five Minute Hallway”, “Nilamon Ng Gabi”, and “Jackson Pollock 9.” The songs were also enjoyed massive spins on Flashback Alternatives and podcasts. Sadly, after the first run of the album sold out, Sony-BMG refused to manufacture more copies despite the band and fans’ requests. Furthermore, despite the local success and international airplay of the album, Sutton shelved the album for more than 3 years that led to a falling out with Castro.

All Seats Are Taken Reviews

“All Seats Are Taken is pure driving music, 100 percent beautiful. Really, how can you go wrong when something makes you feel so happy, but so sad, all at once? If you need to zone out, The Pin-Up Girls! If you want to feel a little melancholy, The Pin-Up Girls! If you want something a little upbeat to lift your spirits, The Pin-Up Girls! Truly something for the moments in between, and everything in between those.” – Regina Belmonte, THE PHILIPPINE STAR, June 16, 2006

“The PinUp Girls was ahead of its time – in this part of the world at least. At the time listeners were humming along to mediocre tunes of R&B singers and bobbing their heads to the trashy beat of hip-hop performers, The Pin-Up Girls was already churning out 80’s New Wave-inspired songs.” - Gabby Libarios, MANILA STANDARD TODAY, July 1, 2006''

“They sound like a 90’s British act cruising through guitar-driven tracks.” --- Yugel Losorata, MANILA BULLETIN, July 15,2006

“They survived nu metal, pogi rock, emo, dance-punk, line-up changes, constant criticism and, life—as we know it. For a band that plays pretty simple and friendly pop-rock ditties/melodies, that’s definitely impressive. And The Pin-Up Girls aren’t even trying as hard as they possibly could.” --- Joey Dizon, PULP MAGAZINE, September 2006

“Clearly the man knows what he wants. When it comes to making music with tenacious local indie band The Pin-Up Girls, Mondo Castro, still stands by his standards..” --Erwin Romulo & Quark Henares, MAXIM, October 2006

“Despite the touted “darker sound,” All Seats Are Taken is one positively happy-sounding romp to places where memories are born and kept. If there’s anything this represents, it’s the power of dreams, and whether you like this sort of thing or not, it is nevertheless inspiring.” --- Annie S. Alejo, FUDGE MAGAZINE, September 2006

“The Pin-Ups aren’t exactly the easiest band to follow. Follow, in the context of their songs that, as you’ll hear in All Seats Are Taken, may rely on simple chords and uncomplicated lyrics but deviate from what could have been a simple pop hook into strange territory with the inclusion of some wayward chord.” – Lou Albano, FHM, October 2006

Pulp Magazine Cover

In June of 2008, PULP Magazine, the Philippines’ only viable music magazine, featured The Pin-Ups on the cover. The band joined and elite circle of independent bands that have graced the esteemed magazine’s cover. Others were Urbandub, Sandwich, and Rivermaya (when the latter two were considered indie).

Manchester, U.K. Compilation Album

Just as the bitter pill of separation and abandonment from their label was setting in, Chris Williams of Manchester, England’s Baby Boom Records contacted Castro through The Pin-Ups’ Myspace page. Williams requested for the band’s track “Jackson Pollock 9” for inclusion in the label “Baby Boom Sampler No.4.” This added another accolade to the band, as they are the first known Philippine-based act to be included in an English compilation. The CD was launched at the SXSW Festival in Texas, U.S.A. and is still available in Manchester and through the Baby Boom Records website.

Musical Style & Legacy

Late 70’s post punk, 80’s new wave, and 90’s indie rock mostly influence The Pin-Ups. Musically and lyrically, they have cited artists like The Dawn, Identity Crisis, Violent Playground, Ethnic faces, Deans December, Betrayed, Francis M, Neocolours, Big Star, Sex Pistols, The Ramones, The Cure, Echo & the Bunnymen, The Smiths, Railway Children, Depeche Mode, The Replacements, The Church, Joy Division, New Order, Jesus & Mary Chain, Tears For Fears, Duran Duran, Lotus Eaters, The Blue Nile, Prefab Sprout, The Ocean Blue, Siouxsie & the Banshees, The Housemartins, Psychedelic Furs, The Stone Roses, Galaxie 500, Pixies, Lush, Sonic Youth, Juliana Hatfield, Ride, The Charlatans, Blur, Oasis, Suede, Travis, and Idlewild.

Several bands have cited The Pin-Ups as an influence or inspiration, including Philippine-based bands Valet Parking, The Attractions, and Paranoid City. Route 196, a well-known bar in Quezon City, Philippines’ was put up by Jonathan Paul Balboa after being influenced and inspired by Castro’s music inclinations.

Moreover, the band is credited for the indie renaissance of the late 90’s and early 2000’s.

Refusal To Compromise & Notoriety

The stories that tell of The Pin-Ups’ refusal to compromise their craft are numerous. Prior to releasing “Hello Pain” in 2001 on their own, Sony Music Philippines asked them to change the lyrics to some English songs to Tagalog before agreeing to sign the band. The band out rightly refused.

In 2006, Universal Music A & R Ito Rapadas (former Neocolours singer) expressed interest in the band however some factions of the label’s management team wanted the band to adapt to a “certain image” and change their lyrics to a more commercial fare for marketing purposes. Castro politely refused to the conditions, which, many believed, led to Universal “rejecting” the band. At the same time, Sony-BMG was also requesting for a similar compromise as a condition for an artist deal. Predictably, the band, led by Castro, refused the offers and stuck to musical integrity. The Pin-Ups and Sony-BMG settled on a distribution deal instead. These and other significant stories, like the band’s international success, coupled with Castro and Tan’s outspoken tirades against the mainstream and critics have contributed to their pariah status in the local rock scene. There is a clear disconnection between The Pin-Ups’ achievements and local respect and support.

Late 70’s post punk, 80’s new wave, and 90’s indie rock mostly influence The Pin-Ups. Musically and lyrically, they have cited artists like The Dawn, Identity Crisis, Violent Playground, Ethnic faces, Deans December, Betrayed, Francis M, Neocolours, Big Star, Sex Pistols, The Ramones, The Cure, Echo & the Bunnymen, The Smiths, Railway Children, Depeche Mode, The Replacements, The Church, Joy Division, New Order, Jesus & Mary Chain, Tears For Fears, Duran Duran, Lotus Eaters, The Blue Nile, Prefab Sprout, The Ocean Blue, Siouxsie & the Banshees, The Housemartins, Psychedelic Furs, The Stone Roses, Galaxie 500, Pixies, Lush, Sonic Youth, Juliana Hatfield, Ride, The Charlatans, Blur, Oasis, Suede, Travis, and Idlewild.

Several bands have cited The Pin-Ups as an influence or inspiration, including Philippine-based bands Valet Parking, The Attractions, and Paranoid City. Route 196, a well-known bar in Quezon City, Philippines’ was put up by Jonathan Paul Balboa after being influenced and inspired by Castro’s music inclinations.

Moreover, the band is credited for the indie renaissance of the late 90’s and early 2000’s.

Recent Developments & Assorted Information

Noel Garcia, who was often at odds with Castro, passed away on December 8, 2006 of a heart attack.

Fashion model and guitar rising star Robby Mananquil joined the band at Castro’s urging back in July 2009. He left January 2010 to form his own band Lipservice who are set to release their debut EP.

Jennifer “Jeng” Tan left for the U.S.A. February of 2010 but vowed to return someday. Tanya Singh left the band My Imaginary Friend to fill Tan’s bass responsibilities while longtime sessionist Raffy Bonifacio was officially asked to join the band to alternate drumming duties with Singson.

The Pin-Ups are currently arranging and recording a 7-track EP with songs that they have played live: “Alleyways & Skylines”, “Ashes”, “Can’t Stand Waiting Here”, and “Not Today.”

Band Members

CURRENT PIN-UPS

Mondo Castro – vocals, guitars (1996 – present)
Ryan Nachura – guitars, keyboards, vocals (1997 – present)
Mitch Singson – drums, vocals (2003 – present)
Raffy Bonifacio – drums (2009 – present)
Tanya Singh – bass, vocals (2010)
Jennifer Tan – bass, vocals (1996 - ?)

FORMER MEMBERS

Pamela Aquino – guitars, vocals (1996-2002)
Noel Garcia (R.I.P) – drums (1997 – 2002)
Jaja Manuel – guitars, vocals (2002-2004)
John Carpio – drums (1996 – 1997)
Ramses Dela Torre -guitar (1996 – 1997)
Robby Mananquil ( July 2009 – January 2010)

GUEST MUSICIANS

Raimund Marasigan – drums, bass, vocals
Wuwu Ortiz (R.I.P) – guitar
Hendrick Gonzales – bass
Aia De Leon – bass, vocals
Junjun Regalado – bass
Jason Caballa - guitar
J.P. Balboa – bass
Matt Johnson – drums

Pot Quiambao -drums

Music Video

Videos	Directors
“A Cold & Better Place”	Erwin Romulo
“Down”	Quark Henares
“Love X Ten”	Edsel Abesames
“Ingay”	Ike Avellana
“The Five Minute Hallway” Flip and Hand versions	Alvin Tecson
“All Seats Are Taken”	Mondo Castro

Discography

2001: Hello Pain (Broken Records)
2003: Taste Test EP (Know-It-All Records)
2004: Taste Test: Expanded Menu (Know-It-All Records)
2005: Take On The Weakened Sky (Sutton Records)
2006: All Seats Are Taken (Sutton Records, distributed by Sony Music Philippines

Compilations

1999: “Ride Rocket Wild” - Songs From NU107’s In The Raw (Sony Music Entertainment)
2004:“Caress”-Jack Daniel’s - In Session Manila (Jack Daniel’s and The Gweilo’s Hour Release)
2007:“Nilamon Ng Gabi” - Band Trip 2 ( Sony-BMG Philippines)
2009:“Jackson Pollock 9” -Baby Boom Sampler No.4 (Baby Boom records, Manchester, England)

Bibliography

@@ Line 95: / Line 95: @@
 * “All Seats Are Taken is pure driving music, 100 percent beautiful. Really, how can you go wrong when something makes you feel so happy, but so sad, all at once? If you need to zone out, The Pin-Up Girls! If you want to feel a little melancholy, The Pin-Up Girls! If you want something a little upbeat to lift your spirits, The Pin-Up Girls! Truly something for the moments in between, and everything in between those.” – '''Regina Belmonte,'' THE PHILIPPINE STAR, June 16, 2006'''''
-*“The PinUp Girls was ahead of its time – in this part of the world at least. At the time listeners were humming along to mediocre tunes of R&B singers and bobbing their heads to the trashy beat of hip-hop performers, The Pin-Up Girls was already churning out 80’s New Wave-inspired songs.” - ''Gabby Libarios, ''MANILA STANDARD TODAY, July 1, 2006''''
+*“The PinUp Girls was ahead of its time – in this part of the world at least. At the time listeners were humming along to mediocre tunes of R&B singers and bobbing their heads to the trashy beat of hip-hop performers, The Pin-Up Girls was already churning out 80’s New Wave-inspired songs.” - '''''Gabby Libarios, ''MANILA STANDARD TODAY, July 1, 2006'''''''
 *“They sound like a 90’s British act cruising through guitar-driven tracks.” --- '''Yugel Losorata, ''MANILA BULLETIN, July 15,2006'''''