No Age

Weirdo Rippers (Fat Cat, 2007) compiles material from the five EPs released in 2006, notably the distorted rock'n'roll of Every Artist Needs a Tragedy, the childish garage rave-up of Boy Void, the tribal wordless mantra of I Wanna Sleep, the facile refrain of My Life's Alright Without You, the frantic bacchanal of Dead Plane.

Il batterista e cantante Dean Spunt e il chitarrista Randy Randall sono autori del disco Erect the Youth Problem a nome Wives; il duo di Los Angeles ha coniato un nuovo ibrido di noise, punk e pop basato su droni e distorsioni, prendendo in prestito sonorità disparate come quelle di New York Dolls, Sonics e Jesus And Mary Chain e abbandonandosi spesso a lunghe overture per droni.

Weirdo Rippers (Fat Cat, 2007) raccoglie il materiale dei cinque EP pubblicati nel 2006; sono degni di nota il rock’n’roll distorto di Every Artist Needs a Tragedy, l’infantile baldoria garage di Boy Void, il tribale mantra senza parole di I Wanna Sleep, il disinvolto ritornello di My Life's Alright Without You, il frenetico baccanale di Dead Plane.

Nouns (Sub Pop, 2008), the first proper album, indulged in the abrasive textures that they had invented but also streamlined the songs, making, for example, Eraser and Here Should Be My Home highly consummable, and even venturing into a folkish lullabye (Things I Did When I Was Dead) and a couple of ambient instrumentals (Keechie, Impossible Bouquet). The subhuman punk-rock of Miner (a confused singalong over childishly repetitive drums and guitar strums) and Cappo (halfway between the Ramones and the Velvet Underground) as well as the rave-ups of Teen Creeps (drenched in almost shoegazing guitar noise), Ripped Knees (feverish like in the tradition of the Pacific Northwest) and Sleeper Hold (perhaps the zenith of energy) sustain a level of teenage angst that well reflects the zeitgeist of the George W Bush age. That neurosis leads to unstable compounds such as the torrential rhythm of Errand Boy.

The EP Losing Feeling (Sub Pop, 2009) contains You're a Target and a few studies in contrast.

Everything in Between (SubPop, 2010) marked the takeover by melody from texture. Introduced by frenzied tribal drumming, the refrain of Life Prowler drowns into a merry-go-round of shoegaze-like distortion. Reminiscent of dark punk of the 1980s, the radio-friendly Glitter toys with jugular guitar squalls and synth-pop keyboards. Too much of the album, though, is lame and dejavu punk-pop by wannabe Husker Du's. At least Valley Hump Crash does a decent imitation of Dinosaur Jr's hazy power-pop. The martial and syncopated Sorts (possibly the standout) shifts the center of mass towards the architecture. The pummeling breakneck punk-rock Fever Dreaming and the hypercharged boogie of Shed And Transcend with demented Ramones-ian rigmarole are reminders of their past, while the post-industrial threnody Skinned might be a premonition of a (more ambitious) future. Positive Amputation is nothing but a layer of ambient shoegaze noise, one of the many experiments that don't quite coalesce when they are limited to the three-minute format.

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