This will hopefully find it's way into Beat but of course you never know ... and reading over the review it struck me that it seemed more at home in the knotty intellectual domain that is (con)temporary, so here you go!
No Age - Nouns
(Sub Pop / Stomp)
A reactionary evaluation of the debut proper from No Age might go like this: so they're signed to Sub Pop (after releasing a string of totally indie vinyls that were collected into Weirdo Ripper), therefore they had lots of cash to make Nouns, so how come it sounds like shit, like they just chucked the tape recorder in the middle of the room and pressed play? I want to hear the KILLER tracks underneath all this crap! Well sure, No Age do pile things on, it's rough, distorted and their tracks are buried under a certain mulch, but this itself is a subtle reconfiguration of the traditional lo-fi aesthetic that one might initially angrily attribute to Nouns. Because the very thing is, Nouns undoes the ideology of lo-fi the says it can only emerge from tape recorders and the dole, just at the same time as they trash the notion that studio production itself must aim for a kind of perfect sound. It's clear from a little closer listening that No Age truly didn't just set up the mic in the middle of the room and then bash around it, but that its lo-fi grain is actually as much an addition of production - they use overdubbing, looping, resonant atmospherics and so on that take what might actually have been a fairly crisp punk track initially and cast it in some kind of mystical, elemental aura. This itself also delays the orgasmic excess that your traditional punk listener might want from his tracks, as if music were reducible to ejaculatory actions - Nouns says 'fuck that', asserting that we MUST bury things under mulch, make the ears work a little harder and recognise the duality of things - that punk itself can be ambient, and that ambient can be punk. It doesn't let you hear it kicking, even though it clearly is busting out of its seams of that grainy, tactile cloth that lays over it. This sound is punk as an environmental force, not one that works to charge you in force and politics but that works through bodies and envelopes of noise until it reaches something like a scuzzy nirvana. As such, Nouns ceaselessly seems to extend beyond itself, reaching past its initial hearing to emanate beyond and take primal flight - it makes sense that this band have played at the foot of canyons and gorges in their American homeland.
Their mixture of studio production and what you might call field recording (live music or otherwise) also flies in the face of what might be a positive evaluation of lo-fi as some kind of pure sphere of 'press record and play' musical creativity that lends recordings a life-giving and totally authentic force (case in point: Springsteen's Nebraska, “OMG he actually sat at his kitchen table to record this and that’s exactly what we’re hearing!”). No Age more subtly understand lo-fi itself as a form of engineering or trickery, not the beginning and end of production but one means among others to arrive at a particular recorded sound. This particular recording also smashes the two-piece mentality, which amazingly is what No Age are - against that whole ‘what you play live should be what we hear on album’ bullshit, the endless layering and marks of far more than just four hands that pervade this sound force you to hold this album as its own material entity. We're not evaluating what they should sound like here (which the reactionary review might ask for), this isn't sheet music and it isn't a gig. It's Nouns, and it’s the sign of something great happening in music when it can steer a smooth course through knotty, ambient complexity and fuzzy, unbridled fun.
