Viet Cong - Viet Cong (Album Review)

 

Viet Cong - Viet Cong

(2015)

My copy: 2015 press by Jagjaguwar.

Canadian post-punk outfit Viet Cong’s (now Preoccupations) musical output began in 2013 when they self-released their debut EP. Viet Cong then exploded onto the scene in 2015, launching the band into indie-stardom. Their concise brand of off-kilter jangle-pop/post-punk fusion still manages to hold up to this very day.

Booming, distorted bass drums blast through the first half of “Newspaper Spoons” where borderline monotone singing furthers the dystopian vibes. At first, crackling feedback reinforces the apprehensive mood, but shining guitar fades in like stalks of light pouring through cracks in a wall. The song then fully concedes to synthesized loops and tender guitar. Tension is revived on “Pointless Experience” where shifting drums roll with static-noises and strong bass melodies. The production of the album is odd - it is somewhat strangled and boxed-in, but it fits the general tone most of the time. The jangled guitars, while relatively sweet, also have a certain crackle to them that keep them from relieving too much anxiety in spite of some simpler pop progressions appearing. 

“March Of Progress” has TV Static broken by a wonderfully hypnotic sequenced drum loop matched by hanging synth chords; this repeats for half the track before everything snaps as the vocals appear with pounding kick drum and uncurling strings. The vocal melodies seek to hypnotize as well, with lyrical themes of military propaganda. The song finally moves into a snappy progression that rises in complexity, ending totally opposite to how it began. The syncopated guitar jabs of “Bunker Buster” are fun and most reminiscent of 90s post-hardcore, though the jamming in the middle of the song lingers for a bit too long. Sunny, descending riffs precede distorted wailing on “Continental Shelf” where more passionate vocal cries are further proof of their punk inspiration. The song culminates in a smooth chorus with moaning synths before looping back around. 

The quick, punky attitude of “Silhouettes” is backed by further syncopated guitar and assorted drones. Catchy falsetto howling comes after a delayed chorus, though the band is at its best when writing more dynamic songs such as the true masterpiece that is “Death.” The closing track is 11 minutes of gothic paranoia, despite beginning with colorful guitar riffing. The track starts out playful, but keeps a subtle urgency about it in the rhythm. The vocals also aid in maintaining a fearful attitude before the song lifts off into a dense jam sequence that gradually becomes harsher and harsher until it is churned down into haunting feedback drones with pulsing drums. The jam is broken by repeated, stilted slams before they break into fast-paced arpeggios with uneven rhythms. The track is so chock full of clever riffs and interesting moments that it is the easiest to revisit, especially with its powerful closing slams.

The band repeat a few good ideas throughout the album, though this isn’t noticeable enough to truly hold it back. The production is the biggest oddity; there are times where everything sounds a bit too compressed and closed off and there are times where this truly accentuates the conceptual elements. Viet Cong is a very solid debut LP, most memorable for its clever dynamic transitions.