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Spazzing over vats studio wigs of electronics like construction workers drilling holes with their minds, Nate Young, Aaron Dilloway, and the permanently studio wigs sleeveless John Olson form a team of advanced gorillas, angry that the computer program they're writing has yet to yield a banana. On record, without that three-ring circus, the band's physical exclamation points still thrust through. Devoid of visual pulse, the album still shakes the floor with studio wigs deafening thump, still ripples pants with air-flexing noise. As this is the trio's Sub Pop debut after over 50 mostly self-released offerings, actual songs emerge: "Stabbed in the Face" lurches through a hypnotic plod and an oscillating Young scream, like a Ramones tune slowed to stoner-time, while "Village Oblivia," the album's biggest fist pump, even has a verse (clunk-clunk-clunk) and a chorus (clank-clank-clank).
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