Alien Nosejob

Reviews

Alien Nosejob Turns the Colour of Bad Shit LP

The prolific Jake Robertson returns once again with a new slate of fantastic songs via his ALIEN NOSEJOB project, and continues to surprise by pushing into new sounds. This time around, Turns the Colour of Bad Shit offers up ten tracks of classic punk greatness. And what is true in the macro is true in the micro, as the sounds on these tracks even find ways to change and evolve from one to the next. Kicking off with the slow yet propulsive burn of “Bird Strike,” the record then flips right into the pummeling garage punk highlight of “Trapped in Time.” Anyone who loved this year’s fantastic PACK RAT album will be more than happy to toss this record on right after; snotty lyrical delivery coupled with primitive song structures that don’t need any other add-ons to grab your attention. It’s no wonder that Turns the Colour of Bad Shit is being put out by the trifecta of Total Punk in the US, Drunken Sailor in the UK and Anti Fade in Australia.

Alien Nosejob The Derivative Sounds of… or… A Dog Always Returns to its Vomit LP

Jake Robertson continues to pivot away from the expected, as one of DIY rock’s great shapeshifters under the ALIEN NOSEJOB moniker. While we’ve heard mutant garage punk and AC/DC worship before, Robertson chooses with this full-length to expand the palette into something a bit more lofty, though no less catchy than previous efforts. This album still maintains a feeling of collage rock, taking disparate elements from the past and reconfiguring them into something singular, with a penchant for the joined jangles of ’60s psychedelic pop, Australian garage both then and now, and a faint aura of the New Zealand Dunedin sound. What results is locked in to Robertson’s expanding universe, at times evoking another giant of visionary songwriting, Anton Newcombe. But this is no retro homage to anything, and continues to be a project built on confident melodic work and well-structured guitar pop. Anchored by rolling bass lines and driving rhythm, songs like “The Punisher Was Cool” drill their way in with ease and mess about with an undeniable energy while never forgetting to have fun (no self serious erudite rock scholardom on display). I’ll be the first to admit that I was never an immediate sell on ALIEN NOSEJOB, and this full-length has driven me to go back to see what I was missing. Turns out it was a backlog like an entire solar system.

Alien Nosejob Stained Glass LP

This band is everywhere I look. I swear, I had three friends text me this album the day it dropped. With good reason, too. It rips! Guitar-worship to its fullest out of Melton, Australia. The press-release for this slab likens it to AC/DC. While that may be true for tracks like “Coastal Living 2,” I think the majority of the record sounds more like the NEW YORK DOLLS mashed with ZZ TOP. And not even just early-era TOP. I’m talking about the ’80s shit where they took a lot of risks, especially with “Sharp as a Needle” where the rhythm section really comes out for the first time. Speaking of, the bass and drums are tight as hell. I honestly can’t tell if it’s real drums or the best drum machine I’ve ever heard. Bass stays in the pocket for the majority of the record, and really gives the guitars the time to shine. Fantastic album, but seeing as it’s from Total Punk, you may already know that.

Alien Nosejob Paint It Clear LP

I reviewed this Australian band’s HC45-2 EP early this year and expected this LP to contain the same kind of manic, freaky garage hardcore. Nope, totally wrong. Paint It Clear sounds like a whole different band, one fed on NEW ORDER and BUGGLES records instead of trashy KBD tapes. Whatever inspired this record, it works—this is a bouncy, fun collection of super catchy pop, complete with crispy drum machine beats, 808 claps, and infectious guitar lines. Paint It Clear is full of charm, with tracks like “Leather Gunn” and “Duplicating Satan” that are pure ’80s Euro-leaning synth-pop. I didn’t think I would be making this reference today, but the loping piano and keyboard ballad, “The Butcher,” sounds like it could have been written by George Harrison with lines like “It is hard to see the sun here / It’s hard to hear the sea here.” If you like power pop or miss the days of acid wash and crunchy bangs, check it out immediately. If you are a rocker with a sweet tooth, give it a listen for something different.

Alien Nosejob HC45-2 EP

Australia’s ALIEN NOSEJOB gives us a quick dose of freaky hardcore with this collection of six rippers in eight minutes. Check out the cover art for a visual preview of what’s inside: colorful gore delivered via box-cutter surgery. Egg punks, but real ones. Blood everywhere. Likewise, these short bursts of hardcore frenzy have a lot of moving parts and seem to be on the edge of breaking apart at any second. But they don’t, and that’s the exciting thing. These tracks have a lot of USHC influence like early BLACK FLAG, CIRCLE JERKS, etc., but with added trebly guitar fills and near-constant drum rolls that reveal hidden complexities upon further listening. Listen to this and enjoy a modern take on the classic hardcore blueprint: very fast, snotty, and great.

Alien Nosejob Suddenly Everything is Twice as Loud LP

For the uninitiated, ALIEN NOSEJOB is the anything-goes solo project of Jake Robertson (AUSMUTEANTS, HIEROPHANTS, SMARTS). So far he’s put out records covering KBD punk, indie pop, straightforward hardcore, new wave, and disco. While previous releases have been more genre-focused (like the excellent USHC workout HC45 EP), this LP takes a more whimsical route through a handful of similar sounds. We’ve got some straight up RAMONES-core (“Television Sets,” “Black Sheep”), earnest indie pop (“Weight Of The World,” “Blending In”), and even some Horrendous New Wave-y new wave (“Spin Cycle”). Not every track is great, but when you take as many shots as this dude, you’re bound to chuck up a brick or two every now and then. Even still, this LP highlights what a gifted songwriter, musician, and producer Jake is. I’m stoked to see what direction he takes the project in next!

Alien Nosejob Once Again the Present Becomes the Past LP

The HC45 single was one of the best hardcore records I’ve heard in recent times and Mr. Nosejob brings those quick, nimble riffs to full-length form. The description for Once Again notes that it began as a concept record referencing both WWII bombings and comedian Norm Macdonald. It sounds like if MODERN WARFARE or the MOB (NYC) had Mike D. of the BEASTIE BOYS on vocals and were emulating DISCHARGE singles. Or if DEVO had been a metal band. Or if the MINNEAPOLIS URANIUM CLUB wrote a hardcore record. It’s wacky and has nice subtleties and moments that’ll make your ears and eyes pop. The guitar solo in “Pointed Shears” reminds me of the guitar in the Mighty Morphin Power Rangers theme song (which now that I listen back on that theme song sounds like it could’ve been a scrapped tune from Military Affairs Neurotic if it was a bit slower). This record will draw a line in the sand for many hardcore fans, probably multiple lines, once again illuminating the dreaded egg v. chain dichotomy.

Alien Nosejob HC45 EP

The first hardcore record I’ve heard in a long time that instantaneously made my eyes bulge. I’ve been brushing off every ALIEN NOSEJOB release as some quantity not quality shlock but this exactly the bright, rigorous, exciting hardcore I love. The vocals sound like Mike D. on the Aglio E Olio EP and the spastic, eye-twitching BAD BRAINS-style hardcore found on that ’90s BEASTIE BOYS release certainly lends some influence here. Reminiscent of bands like SOCIAL CIRCKLE, BIG ZIT and LAFFING GAS but it definitely sets itself apart.