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▓█▓▓█ Artist.....[ Japandroids ▀████▄█▓
██▓▀ Album......[ Post-Nothing ▀▓██
▄ █▓█ █ Label......[ Unfamiliar Records █ █▓█ ▄
█▒█▓█▄▀ Catalog #..[ UN012 ▀▄█▓█▒█
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▓█▀ ▀▀█▓█▒ Source.....[ CD ▒█▓█▀▀ ▀█▓
▓█▄ ▀▄ ██▓ Genre......[ Indie ▓██ ▄▀ ▄█▓
▓▓█▓▀ ██ Language...[ English ██ ▀▓█▓▓
▀ ▄████ Rip Date...[ 2009-04-30 ████▄ ▀
▄ ▀ ▓█▓ Store Date.[ 2009-04-28 ▓█▓ ▀ ▄
█▀▀ ▄▓█▀ Rip Tool...[ EAC ▀█▓▄ ▀▀█
▓█▄████▀ Encoder....[ LAME 3.97 -V2 --vbr-new ▀████▄█▓
▀█▓▀ Quality....[ 234 kbps AVG VBR 44.1/Joint Stereo ▀▓█▀
▄ █▓█▄▓█▓ Url........[ http://www.japandroids.com ▓█▓▄█▓█ ▄
█▒██▓█▀ ▀█ █▀ ▀█▓██▒█
▀█▓█▀ █ █ ▀█▓█▀
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▓█▀ █▀█▓█▒ ▒█▓█▀█ ▀█▓
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█▓ 01 The Boys Are Leaving Town 4:01 ▓█
█▓ 02 Young Hearts Spark Fire 5:05 ▓█
█▓ 03 Wet Hair 3:12 ▓█
█▓ 04 Rockers East Vancouver 4:31 ▓█
█▓ 05 Heart Sweats 4:24 ▓█
█▓ 06 Crazy/Forever 6:03 ▓█
█▓ 07 Sovereignty 3:33 ▓█
█▓ 08 I Quit Girls 4:55 ▓█
█▓ ----- ▓█
█▓ 35:44 ▓█
▄███▓ ▓███▄
▄ ▀ ▓█▓ ▓█▓ ▀ ▄
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▓█▓█ ▀ ▓█▄▀ ▓█▀ ▓█ ▓█▀█ ▓█ █ ▓█ ▓█▀ -▀▀▀█ ▀ █▓█▓
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▀▄ █▓█ ▄ ▄ █▓█ ▄▀
█▒██ ██▒█
█░█▒ Having released japandroids first 2 eps, we now ▒█░█
█░█▒ bring the cd promo for their debut lp that is a ▒█░█
█░█▒ vinyl/web exclusive and since its best new music on ▒█░█
█░█▒ pitchfork it must be good! ▒█░█
█░█▒ ▒█░█
█░█▒ ▒█░█
█░█▒ ---- ▒█░█
█░█▒ Disliking teen-pop gets you cast as some sort of ▒█░█
█░█▒ rockist Luddite these days, but beyond the fact ▒█░█
█░█▒ that most of it doesn't sound like stuff I'd have ▒█░█
█░█▒ wanted to hear as a high schooler, it doesn't feel ▒█░█
█░█▒ like music for teens either. (Hell, it's more ▒█░█
█░█▒ tween-pop than teen-pop anyway.) But what about the ▒█░█
█░█▒ kind of stuff that, say, the "1979" video ▒█░█
█░█▒ lionized-- breaking into your folks' liquor ▒█░█
█░█▒ cabinet, obliterating the speed limit despite just ▒█░█
█░█▒ getting your learner's permit, leaving your ▒█░█
█░█▒ hometown for the first time and discovering how ▒█░█
█░█▒ small it feels. What about jamming out with your ▒█░█
█░█▒ best bud and deciding to call it a band? ▒█░█
█░█▒ ▒█░█
█░█▒ These are the kind of gut-level concerns ▒█░█
█░█▒ Post-Nothing trades in, and I know, on paper it ▒█░█
█░█▒ describes an itch that a late-1990s Vagrant record ▒█░█
█░█▒ could scratch. And combined with the fact that the ▒█░█
█░█▒ band is called freakin' Japandroids, it's easy to ▒█░█
█░█▒ not take it seriously. Which is fine, since ▒█░█
█░█▒ Japandroids do not make particularly complex music: ▒█░█
█░█▒ Brian King plays broad chords stewed in mid-90s ▒█░█
█░█▒ fuzz (think Superchunk) while David Prowse splays ▒█░█
█░█▒ spastic but never showy drum fills that beg to be ▒█░█
█░█▒ pounded out on your steering wheel. There's maybe ▒█░█
█░█▒ one overdub on the whole thing and occasionally, ▒█░█
█░█▒ both of them yell at the same time. Several songs ▒█░█
█░█▒ have less than five lines. And while they've been ▒█░█
█░█▒ known to cover Mclusky's "To Hell With Good ▒█░█
█░█▒ Intentions" live, what makes Post-Nothing such a ▒█░█
█░█▒ blast is how Japandroids tend to embody the ▒█░█
█░█▒ opposite sentiment of that song title. This is ▒█░█
█░█▒ terminally catchy music played with punk's ▒█░█
█░█▒ enthusiasm and velocity, and maybe it's the fact ▒█░█
█░█▒ that there's only two dudes in this band that makes ▒█░█
█░█▒ you feel like joining in to bash along. It's as fun ▒█░█
█░█▒ as an ill-gotten sixpack and there really aren't ▒█░█
█░█▒ too many bands doing stuff like this well anymore. ▒█░█
█░█▒ ▒█░█
█░█▒ Recent trends, however, might make you think ▒█░█
█░█▒ otherwise: Due to their two-man setup and no-frills ▒█░█
█░█▒ recording, Japandroids risk being lumped into the ▒█░█
█░█▒ increasingly tiresome no-fi/noise-pop scene that ▒█░█
█░█▒ finds bands using distortion to tear through the ▒█░█
█░█▒ fabric of the medium and, in some cases, drown out ▒█░█
█░█▒ weak songs. Either way, there's some form of ▒█░█
█░█▒ obfuscation, but what makes Post-Nothing such a ▒█░█
█░█▒ thrill is the manner in which Japandroids hold ▒█░█
█░█▒ absolutely nothing back. As contagious as any of ▒█░█
█░█▒ the lyrics, melodies, riffs, or drum fills are, ▒█░█
█░█▒ their energy and lack of self-consciousness is ▒█░█
█░█▒ every bit as equally lovable. Opening mission ▒█░█
█░█▒ statement "The Boys Are Leaving Town" could be seen ▒█░█
█░█▒ as a goof on Thin Lizzy, but the response, "Will we ▒█░█
█░█▒ find our way back home?", is delivered with such ▒█░█
█░█▒ conviction that between those two lines, "Boys" ▒█░█
█░█▒ displays a palpable desperation. Six tracks later, ▒█░█
█░█▒ the question is still unresolved-- amidst the ▒█░█
█░█▒ cyclical thrum of "Sovereignty", they observe: ▒█░█
█░█▒ "It's raining, OH-OH! in Vancouver/ But I don't ▒█░█
█░█▒ give a fuck/ 'Cause I'm far from home tonight." ▒█░█
█░█▒ ▒█░█
█░█▒ So yeah, it's a record about distance. For the most ▒█░█
█░█▒ part it's a record about the distance between ▒█░█
█░█▒ themselves and girls. Too often, similar records ▒█░█
█░█▒ find themselves lapsing into easy misogyny, and ▒█░█
█░█▒ while "Heart Sweats" skirts the issue, the in-jokes ▒█░█
█░█▒ are kinda duds. Nonetheless, its thick riff is a ▒█░█
█░█▒ good introduction to the less excitable but still ▒█░█
█░█▒ very exciting side B. "Crazy/Forever" is heaving ▒█░█
█░█▒ stoner rock (think Black Mountain with hooks), and ▒█░█
█░█▒ closer "I Quit Girls" is about as close to a power ▒█░█
█░█▒ ballad as Japandroids will allow themselves. It's ▒█░█
█░█▒ full of musical drama-- King reaches for falsetto ▒█░█
█░█▒ amidst almost-synthetic guitar EQ'ing and it's the ▒█░█
█░█▒ longest stretch of time with no drumming, but the ▒█░█
█░█▒ whole thing is leavened by a tongue-in-cheek pledge ▒█░█
█░█▒ of devotion from Rowse: "After her, I quit girls." ▒█░█
█░█▒ ▒█░█
█░█▒ The distance is emotional as well as physical on ▒█░█
█░█▒ "Wet Hair", and I'll be surprised if I play another ▒█░█
█░█▒ song in 2009 as much as this one. Its structure is ▒█░█
█░█▒ almost comically linear-- there's three lines in ▒█░█
█░█▒ the whole thing, and the most ridiculous one gets ▒█░█
█░█▒ repeated for nearly half of its three minutes, ▒█░█
█░█▒ something about going to France to French kiss some ▒█░█
█░█▒ French girls. There's hardly even a verse-chorus ▒█░█
█░█▒ structure, just a single melody that repeats itself ▒█░█
█░█▒ faster after the drums drop out. But it's one hell ▒█░█
█░█▒ of a melody, and it's lyric, like much of ▒█░█
█░█▒ Post-Nothing, doesn't need to be analyzed or even ▒█░█
█░█▒ understood to be felt. ▒█░█
█░█▒ ▒█░█
█░█▒ Where it all comes together best is "Young Hearts ▒█░█
█░█▒ Spark Fire". Almost a flipside to LCD Soundsystem's ▒█░█
█░█▒ "All My Friends", it's thematically similar, ▒█░█
█░█▒ trading wistful reminiscence for drunken defiance ▒█░█
█░█▒ and pulsing electro for chaotic garage rock. The ▒█░█
█░█▒ five minutes go by in a blur, and amidst the guitar ▒█░█
█░█▒ heroics and cymbal-bashing, King lets his guard ▒█░█
█░█▒ down on Post-Nothing's key line-- "We used to ▒█░█
█░█▒ dream/ Now we worry about dying/ I don't want to ▒█░█
█░█▒ worry about dying." It would be so easy to view ▒█░█
█░█▒ this sort of musical and lyrical directness with ▒█░█
█░█▒ suspicion, but "Young Hearts" is life-affirming ▒█░█
█░█▒ stuff-- if only it affirms that, even in these ▒█░█
█░█▒ times, life doesn't need to be as complicated as we ▒█░█
█░█▒ tend to make it. ▒█░█
█░█▒ ▒█░█
█░█▒ http://www.japandroids.com ▒█░█
█░█▒ http://www.myspace.com/japandroids ▒█░█
█░█▒ http://www.areyoufamiliar.com ▒█░█
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▄ ░▒▓█████████▓▒░ ASCii By AyL!cRO 2oo5 ░▒▓█████████▓▒░ ▄
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