Album Review

As far as I can tell Japandroids are not androids from Japan. They appear to be a rock duo from Vancouver comprised of two very white Canadians.

The noise that Japandroids muster is not too far removed from what any band on the SST label may have spewed forth in the late 80’s or early 90’s. What’s strange is how this sound seems to have gone into hibernation sometime between the mid-90’s and the present. There were always bands scratching beneath the surface with a heavier approach (The Hot Snakes immediately come to mind) but the past decade seems to have been dominated by Brian Wilson followers as opposed to Pete Townshend clones.

So this new batch of bands coming out of the gates, unafraid of turning up the amplifiers and ditching keyboards all together, are an interesting phenomenon. What they are doing is really nothing new, though. Similar to Husker Du in the 80’s, and Nirvana in the 90’s they are just combining a pop formula with some heavier artillery. Perhaps the most interesting aspect of their existence is the fact that this latest wave of muscular rock took such a long time to come along. And, no, that lame garage-rock revival circa 2002 doesn’t count.

I for one am all for this new trend. In fact, from the opening chords of “The Boys Are Leaving Town” I was sold on this band in a similar fashion that The Hold Steady hooked me when I first heard “Stuck Between Stations.” Both songs harness the powers of the anthem coupled with a sense of melancholy. This is a formula that Guided By Voices nearly perfected during their impressive existence. There’s something to be said about the combination of distorted guitars, lyrics about failure, and a well structured pop-song. This combo will always click with guys like me.

The one wild-card that Japandroids throw into the mix is that they do sound like a band that was weaned on Sum 41, Yellowcard and Blink 182, as opposed to Black Flag and the Descendents. In short, probably without any intention whatsoever, they come across as a bit “Emo.” A tad too earnest in the emotions department, and also a little too high-pitched in the vocal delivery. This combination worked for Superchunk though, a band which Japandroids are often compared too. What is ironic is that apparently they were considering adding a third member as a vocalist before they decided to tackle all the vocal duties on their own. Bringing in a fresh throat may not be such a bad idea, and they should hire a bassist while they’re at it.

Speaking of which, this album is quality, but there is absolutely no reason for this group not to have a bass player. The songwriting is solid, but, no surprise here, everything just sounds a bit thin. Adding some backbone to these tunes would help. Even though these songs work well in their present form, they could be absolutely bone-crushing incredible with a fleshed out line-up.

Another bummer about this release is that it’s only eight songs deep. It falls somewhere between an EP and a standard full-length. In ways this works to it’s advantage, as it exists basically filler free. Besides the great opener, other standouts include the 1000 mile per hour rush of “Wet Hair,” the more angular assault of “Rockers East Vancouver” (a song which sounds like something the Futureheads could have tinkered with for their first album,) and the worthy closer “I Quit Girls.” The latter serves as the best example of how the band’s barebones line-up can work to their advantage.

Delivered for nearly half it’s length on only electric guitar and vocals, the song is an exercise in a great use of dynamics, space and repetition. And man does it work. This song, and the equally worthy “Crazy/Forever,” may present the key to the band’s future success if they choose to remain a duo. They should zero in on the artier, somber songs as opposed to the pop-rockers. The less traditional structuring the better. Set up your band as you wish, and map your own trajectory.

And maybe that’s what the title of this release eludes too. We’re not post-punk, rock, pop…whatever. We are our own beast. We are Post-Nothing. During a time in which everyone is eager to classify and brand anything they see, meet, or hear, this is a refreshing change of pace.

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