If you read all the hype about the Japandroids, you will assume that they are a part of the much-lauded garage rock revival that gets championed every couple of years. After listening to Post-Nothing several times, it’s hard to understand how the band got pegged in that genre. Heavy guitars and crashing drums are a major component of garage rock, but the band doesn’t swing the way The White Stripes or the Hives do.
This is not a slight against the band. Their music is much more interesting than the narrow box of garage rock suggests. The thick wall of guitars that welcomes you on “The Boys Are Leaving Town,” owes more to Black Sabbath than The Kingsmen. The Japandroids are not a metal band either, so what are they?
The Japandroids are a mixture of late ‘60s protopunk coupled with a power pop ear for melody. The sound is remarkably thick for a band comprised of two people. Brian King’s guitar is the fundamental element of the band’s music. The root riffs are simple, driving and insistent, as if he’s trying to drill the beat into your head. The simplicity of the base riffs are complimented by intricate melodies on top, morphing a two-dimensional sound into 3D. On “Sovereignty,” the riffs come flying at you. The direct approach lasts for a minute, before King switches his gears and takes his time. While he plays the main riff, the initial quick riffs remain.
David Prowse’s drumming provides another layer of solidarity. Behind the wall of sludge, he bashes the drums with authority. Prouse is clearly influenced by the classic rock of the early to mid-70s. His drums never shuffle; they thump and crash with a Bonham like intensity. Indie bands aren’t exactly known for a heavy drum sound, and the change is refreshing. Brushes can only take you so far.
The biggest problem with Post-Nothing is the production. The guitar and drums are put front and center, as they should be. Unfortunately, the vocals get swallowed up in the wall of sludge that the Japandroids have created. The vocals are barely audible, and it’s really hard to hear what they singing. King’s voice is soft and non-confrontational, the complete opposite of his music. It’s very similar to Stephen Malkmus of Pavement, except Malkmus’ voice always rises above the sheets of distortion.
The production is bad, but the songs are good enough to keep your attention. It’s one of those problems that can be ironed out with the second record. Perhaps the best attribute of Post-Nothing is that it never overstays its welcome. At only eight tracks, the Japandroids leave you wanting more. Even better, it’s hard to tell where they will go from here.
