It's hard to think of a more surprising reunion than that of instrumental trio the Notekillers. The Philadelphia-based group skated on the edges of post-punk and no wave in the late 1970s, releasing just one 7" ("The Zipper" b/w "Clockwise") during a five-year career. What they didn't know when they broke up in 1981 was the single had a big effect on Thurston Moore and the band he was starting at the time, Sonic Youth. 20 years later, Moore cited that influence in Mojo magazine, sparking a renewal that led to an archival Notekillers release on his Ecstatic Peace label, and the reforming of the band, whose members were now split between Philly and NYC.
Flash-forward another nine years, and the Notekillers have finally crafted their first album of new music since reuniting*.* That may seem like a long time, but it's understandable given how busy the three musicians are-- especially guitarist David First, who has forged a three-decade career as a minimalist composer and sound artist. Besides, time seems rather irrelevant for this band. The sound of the 10 chugging tracks on We're Here to Help is as vital and distinctive as those they originally crafted the first time around.
It's a sound that's accessible and welcoming, but not easy to pin down. This is ostensibly structured punk rock, with melodic shapes that resemble verses and choruses. The closest reference point is another underappreciated instrumental outfit, Pell Mell. Some songs also recall the brain-vs-brawn math-metal of Don Caballero. But where both of those groups colored within their own designated lines, a good bit of Notekillers' appeal comes from their willingness to play rough and loose, and let their sounds spill around a bit. Sometimes they even stretch into feedback-drenched free jazz. And the band's melodic curves are deceptive-- often a catchy hook becomes a repetitive mantra before you know it, no doubt due to First's highly-developed feel for the powers of minimalism.
If that sounds too theoretical or abstract, don't worry-- We're Here to Help is way more fun than educational. The Notekillers make energy and momentum their main priorities throughout, and every song-- even the loosest and noisiest-- has its share of head-nodding beats and air-guitar-worthy riffs. For me, the best tracks feature a wide range of twists, leaps, and crescendos. Take "Papers": opening with a snaky guitar line akin to Pete Townsend's wiry intro to the Who's version of "Shakin' All Over", the trio swerves from rising rave-ups, to hypnotic chord repetitions, to fiery noise, to even a bouncy middle section begging for hand-clap accompaniment. Such fresh diversity makes it seem like the Notekillers could-- and hopefully will-- keep churning out this ecstatic music for a long, long time.
