[[[PROFILE]]]]]]]]

Corporate MF rails against a world of minimum wage slavery and cubicle captivity, spiking its post-punk attack with slick, synthesized sex appeal. Combining hard-edged Gang of Four bass and drum grooves with sometimes grimy, sometimes gorgeous synths a la Add N to (X), CMF’s full-length debut “The Royal We” (Omega Point) delivers experimental sounds with a powerful rock and roll punch.

Vocalist/keyboardist/CEO Nicholas Dye sings half the songs with a cool, professional detachment, while loosening his tie and letting his bombastic tenor rip on the others. Beyond its stylish sound, Corporate MF’s lyrics savage every aspect of the corporate experience, from getting hired (“Personality Profile”) to getting fired (“Street Dancers”), drooling over coworkers (“Office Fantasies”) and kissing executive ass (“Head Honcho”). Corporate MF asks the important questions, such as “Stealing from the company is okay if you feel you’re underpaid… do you disagree / agree / or are you unsure?” At last, our new Republican dark age has its Dead Kennedys.

Onstage, the rhythm section of step-siblings Dylan Sechio (drums) and Chloe Yasdin (bass) lay down a rock-solid foundation, while keyboardist Liam Kepheim and “circuit bender” Clyde Oshina duel furiously with analogue keyboards and heavily modified Fischer Price toys. Front and center, Nicholas Dye gyrates, vamps, and howls whilst tearing his ill-fitting suits and ties to shreds.

Corporate MF builds upon the recent synth-rock breakthroughs of groups like Trans Am, Le Tigre, and I Am Spoonbender.