Maybe it's because I play bass, but whenever I hear about a band losing their bassist and moving on without him, I get worried: who's gonna guard the low-end with two guitarists dominating the proceedings? Will they start to sound like The Doors? I mean, I like The Doors and all (Jim Morrison's, um, "poetry" aside), but we don't need another Doors. These are the questions that shot through my head when I heard that Q and Not U had decided not to replace Matthew Bourlique on four-string when he left the band after their debut full-length, 2000's No Kill No Beep Beep.
On that album, Q and Not U sounded like they were on their way; there were some great songs at the front end of the album, even if the rest was somewhat less inspired. Ideas were in abundance, but the sinew to hold them together was lacking, which made it more of a fun and promising release than a full-blown success. I fretted that their losing a member might kill the potential completely, so it was with a cautious ear that I put on Different Damage, their first album without Bourlique.
And I'll tell you, I have got to stop worrying about stuff like this. Q and Not U aren't on their way anywhere anymore-- they've arrived. There are subtle changes here; the band's fundamental D.C.-ness is still firmly intact, all post-punk rhythms and obtuse politicking with the occasional riotous post-hardcore shout, though some electronics have found their way into the depths Bourlique used to inhabit. And the big shocker: guitarist/vocalist Chris Richards makes a mean bassist.
The songwriting has tightened up considerably since No Kill No Beep Beep. If most of the songs on their debut were shotgun blasts, these are laser beams: no less destructive, and far more precise. "Soft Pyramids" opens with the band spelling out the song title and several randomly chosen words from the lyrics over dissonant guitars and gauze-wrapped synths. John Davis, already a great drummer on No Kill No, has improved here, pushing everything along octopus-style, with frenetic percussion and rock-steady beats. Each of these songs nicely highlight his sharp command of rhythm.
"So Many Animal Calls" and closer "Recreation Myth" ride along on slamming beats, while Richards and Harris Klahr carefully match guitar parts, each playing in the space left by the other guitarist for an interesting series of interlockings. The distortion pedals stay in storage for the most part, too, and the new clean tones that have filled their shoes open up the sound beautifully, without sacrificing precious kinetic energy. Even when dirtier tones do come out, like on the righteously tweaked "Black Plastic Bag", they make a serious impact, turning a charge into a dense, thunderous stampede. And, as if the band's skill and improvement weren't enough, Ian MacKaye and Don Zientara capture their sound perfectly, revealing subtle details while preserving the music's intensity.
So it looks like big things loom on the horizon for Q and Not U-- and I don't just mean the Washington Monument. They may only be three now, but rather than weaken with the loss, they've risen to the challenge, doing more with less in admirable style. Their next should absolutely fucking kill.
