Yeesh‘s No Problem is the fantastic result of 40 years of rock experimentation. If you scour through the impressive sonic melange of tracks like “Slip,” “Linda Lee,” and “Genesis Pt. 1,” you’ll find traces of (deep breath) Black Flag, the Minutemen, various grunge howlers, Blur, Modest Mouse, The Strokes, The Vaccines, The Pixies, Hot Water Music, The Menzingers, countless unnamed punk bands, and post-rock bands that emphasize the rock. What’s not included might be easier to list than what is. (No reggae or folk, for example.)
This level of sonic re-appropriation and pastiche makes it difficult to review; each song is its own distinct head trip. “Friends/Shadows” is the most frantic Menzingers song never recorded, with a math-rock breakdown for the heck of it. “Different Light” is a mid-tempo singalong made unusual by atypical reverb settings on the guitar; the propulsive “Watch Yr Step” lives on the boundary of punk and post-hardcore. “Zakk Radburn Teenage Detective” starts out with chiming guitars reminiscent of early ’00s indie-pop, then layers the most brutal guitar noise of the entire album on top of it. They never resolve the tension there, instead using it to power some start/stop acrobatics.
Listening to all of No Problem is a mind-bending experience. Yeesh doesn’t see any contradiction in having soaring guitar lines compete with gnarly low-end rhythm guitar (closer “Shock” most prominently, but it’s everywhere); they don’t see any problem in mixing poppy melodies, brute force guitars, polyrhythmic rhythm section, and artistic guitar effects. This kitchen sink approach to songwriting results in something truly inventive and creative: a set of ten songs that kept me guessing the entire time. If you think that complex arrangements can and should be set in the service of pummeling eardrums, No Problem may be high on your year-end list.
1. “Away” – Heart Beach. Heart Beach is out-Pixie-ing the Pixies with this churning slice of plodding bass, washed-out guitar and yearning vocals. A+.
2. “Cavity” – Kuzin. Sometimes the vocal hook that seals it is in the verse, and so it goes with the yearning killer line of this track. You’ll be humming this one for a while.
3. “Gone Past” – Lore City. A lot of people want to invoke shoegaze, but few bands really inhabit the idea of the sound overwhelming a person in their entirety the way that Lore City does here. Slow movement, pounding drums, howling vocals, synth sheen over everything: this is how you create a wall of sound in 2015.
4. “He’s Not Real and He Ain’t Coming Back” – Twin River. The synth-laden, reverb-heavy soundscapes on this track recall the slow motion of the band’s titular geographical features. Let it wash over you.
5. “Wasting Time” – The Phantoms. The alt-rock drama of Anberlin meets Blur influences in vocal delivery for this high-contrast track.
6. “Dotted Line” – Bombay Harambee. Guitar rock with demonstrative, impassioned front men will always have a home. This particular brand makes me think of a slowed-down Arctic Monkeys.
7. “Fourth Quarter Funeral” – Velcro Mary. The thick, bassy guitars in this power-pop song fill up the track, but they never make the song feel leaden. Instead, the track moves sprightly along on a Foo Fighters backline and a snarly vocal line that never explodes.
8. “Universe” – Faith Healer. Some perky garage-rock with a mumbly female lead vocal creates a very cool vibe.
9. “Actual Alien” – American Culture. Scuzzy guitars; gated ’80s drums; distorted, nasally vocals. Sounds like a great entry into American garage rock culture to me.
10. “Time For Us to Move” – Full Trunk. We really should thank the Black Keys for re-popularizing blues rock. There are few ways to vibe harder than on a good blues-rock riff, like the one here.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.