'Goons Be Gone' Review: No Age drop a raucous and rousing noise-pop album filled with atmospheric textures
The LA-based noise pop-rock duo No Age is back with their fifth full-length album ‘Goons Be Gone’. Guitarist Randy Randall and drummer/vocalist Dean Spunt push the envelope with their second Drag City release and the result is a deliciously nuanced album that mashes shoegaze, noisy punk, pop-rock, and '80s nostalgia spectacularly well. ‘Goons Be Gone’ is a departure from the duo’s 2018 offering ‘Snares Like A Haircut’ and sees both musicians opt for a bigger, fatter sound. The album features a lot of looping and layering by Randall and the overall effect is quite stunning and satisfying. The eleven tracks on the album are a collection of songs that vary considerably in their sound, ranging from meditative to energetic.
‘Sandalwood’ opens the album and has a solid post-punk vibe to it with vocalist/drummer Dean Spunt riding through the song on a straight punk beat while singing lines that channel Sonic Youth. You’d be forgiven for thinking that No Age had more than two musicians, but the duo has managed to master the art of filling up sonic spaces. Much of this has to do with Randall’s deft guitars stacked on top of each other, to build this massive, rifftastic wave that crashes headlong into Spunt’s drumming and vocals. ‘Sandalwood’ gives one a clear glimpse into No Age’s change in direction towards a fuller, layered sound.
After ‘Sandalwood’ comes ‘Feeler’, which is a further indication of No Age’s departure from their early stripped-down aesthetic. Spunt’s unique vocal delivery is almost spoken rather than sung outright, in true punk rock style. "Would you like to hold on to the rhythm of my astral plane?" enquires Spunt as the drums drill out a steady no-nonsense punk beat with the chiming, tremolo-drenched guitars.
‘Smoothie’ is up next and opens with strains of layered psychedelic guitars. Randall builds up a wall of ambiance before Spunt steps in with the lyrics. Spunt’s delivery is more laidback on this song, setting up an interesting contrast with the guitars that keep weaving in and out with an array of tones and sounds. This song is am adventurous leap into the psychedelic realm and showcases how the duo has steadily crafted their own versatile concoction of evolving sounds. ‘Working Stiff Takes a Break’ continues with the psychedelic theme and serves as a transition track more than a standalone number. Featuring reversed guitar motifs set to Spunt’s punky vocals, the one-minute track serves as an aural breather.
‘War Dance’, the fifth track, bursts out with the drums and repeated guitar riff marching away from the get-go. Spunt retains his spoken delivery that repeats over and over in a hypnotic manner, while Randall fills up the song by steadily stacking riffs like books on a shelf. Like most punk tracks, this two and a half minute banger is short and packed with energy.
The sputtering ‘Toes In the Water’ is the sixth track on the album. With no drums at all, the song features some of the most interesting tones that Randall has cranked out yet. The song delves into shoegaze territory with Randall employing techniques such as reversing sounds and choppy textures, creating a very interesting mosaic of sound. The track has a quality of nostalgia to it, and is evocative of acts like Boards of Canada and Slowdive. Although it isn’t a very long track, ‘Toes In The Water’ has a very hypnotic, calming effect to it and is one the stand-out tracks on the album.
Released as an early listen for fans, the powerful 'Turned To String' brings things back into familiar rock 'n' roll territory. Spunt's peppy drums encapsulate an '80s punk vibe, and his trademark vocals are reminiscent of that era as well. Randall employs a variety of tones that color this driving track in a myriad of shimmering, grainy hues. The stacking of guitar parts is done judiciously, emphasizing certain sections while allowing the remaining parts of the track to breathe. One can also hear some intricate guitar noodling by Randall in the background, a nice touch for listeners with headphones.
‘A Sigh Clicks’ sees the duo mixing up things a little. Randall employs his favored trick of utilizing a looped phrase to build on the song, but it’s Spunt’s non-linear drumming that adds texture and depth to this track. There’s a lot of broken-beat playing interspersed with oddly placed rolls and cymbal crashes which have a strangely calming effect. A clear departure from the rest of the album that sees Spunt laying down steady punk beats in four, ‘A Sigh Clicks’ seems to be an experiment in utilizing the drums as a voice, rather than a backbone. The result is a very dreamy, deliciously layered track.
‘Puzzled’ lives up to its name by throwing listeners off with its disorienting intro before pulling them back in with a traditional guitar and drum onslaught. Spunt’s vocal delivery while staying deadpan is subjected to some interesting processing. That coupled with Randall’s unpredictable tone changes and looping makes ‘Puzzled’ another anomaly when it comes to defining the duo’s style.
‘Head Sport Full Face’ was the first single off the album and features a trippy music video that accompanied the song’s release. Of all the tracks on ‘Goons Be Gone’, ‘Head Sport Full Face’ is probably the closest that comes to defining the sound of the new No Age. The song showcases everything from driving drum beats to guitars that scream punk sensibilities while borrowing generously from shoegaze, psychedelic rock, and noise rock sensibilities. The track also maintains a great balance of musicality and noise in an accessible format, which keeps it radio-friendly.
‘Agitating Moss’ is the album ender and stays in the punk rock zip code. Randall sticks to a slightly driven, cleanish sound and is locked in with Spunt’s drumming throughout. Spunt’s vocal delivery reverts to his poker-faced punk rock style and sits nicely with the guitars and the drums. The vibe is a cross of indie and early punk rock and is a fitting end to an album that takes the listener on quite an aural journey.
Given that all these sounds are coming from two people, No Age are evidently at the top of their game, transcending beliefs on what can be done by two musicians with a singular focus. Featuring parsed-out samples on top of dreamy guitar lines, repetitive riffs, Spunt’s energetic drumming, and a variety of inventive arrangements, ‘Goons be Gone’ is arguably No Age's best release yet.