Nomeansno

From Wikipedia, the free encyclopedia
  (Redirected from NoMeansNo)
Jump to: navigation, search
Nomeansno
Nomeansno.jpg
Nomeansno live in Tampere, Finland in 2007
Background information
Origin Victoria, British Columbia, Canada
Genres Punk rock, punk jazz, post-hardcore,[1][2] hardcore punk, noise rock
Years active 1979–2016
Labels Wrong Records, Alternative Tentacles, AntAcidAudio, Southern
Associated acts The Hanson Brothers, Hissanol, Jello Biafra, Showbusiness Giants, Two Pin Din
Website nomeanswhatever.com
Past members

Nomeansno (sometimes stylized as NoMeansNo or spelled No Means No) was a Canadian punk rock band formed in Victoria, British Columbia and later relocated to Vancouver. The band issued 11 LPs, one collaborative LP, and numerous EPs and singles, and gained an international audience following extensive touring. The band's distinct hardcore punk sound, complex instrumentation,[3] and dark, "savagely intelligent" lyrics inspired subsequent musicians and influenced the math rock and emo subgenres.[4]

Formed in 1979 by two brothers, bassist Rob Wright and drummer John Wright, the group began as a two-piece punk band influenced by jazz and progressive rock.[5] They self-released their debut Mama LP in 1982. The band expanded its sound with addition of guitarist Andy Kerr in 1983, and signed with the Alternative Tentacles imprint shortly thereafter. Kerr departed in 1992 after five LPs with the band, and the group returned to its two-piece formation for the Why Do They Call Me Mr. Happy? album.

Guitarist Tom Holliston, and briefly second drummer Ken Kempster, joined in 1993, and the band continued touring and recording extensively while operating their own Wrong Records label. After three more LPs, they left Alternative Tentacles and issued their final album, All Roads Lead to Ausfahrt, in 2006. The band received critical praise throughout its career, culminating in their 2015 induction into the Western Canadian Music Hall of Fame.[6] They announced their retirement the following year.

History[edit]

Early years as two-piece (1978–1982)[edit]

Brothers Rob Wright and John Wright began rehearsing in their parents' basement in 1978.[7] With Rob playing bass guitar and John playing drums, they became the rhythm section for the local cover band Castle, but were inspired to play punk rock after seeing D.O.A. perform at the University of Victoria in early 1979.[7] They took the name Nomeansno from an anti-date rape slogan.[7]

Nomeansno recorded its earliest material in the months that followed, with Rob adding electric guitar, and John also playing keyboards. Some of these recordings were issued as their first two self-released 7"s, the "Look, Here Come the Wormies" single (a 1980 split with another short-lived Wright-brothers project, Mass Appeal), and the Betrayal, Fear, Anger, Hatred EP of 1981.

In the early 1980s, the duo began performing live, with Rob playing bass, John playing drums, and both brothers singing. Their sound developed without a guitar, and John Wright later reflected on these developments:

...without a guitar player you can’t rely on the standard hooks that punk rock and rock n' roll in general relies on. The guitar player – the guitar god quote unquote – was such a focus for so long that by the nature of not having a guitar player, the bass and the drums have to do a lot more. It also makes the vocals more important, or at least it makes a lot more room for the vocals. You don't have guitar solos, you don't have the wash of high end. And the things you do on the drums are different, if you just did a straight four beat on the drums it would get kinda dull after awhile. It isn't as though bass guitar hasn't been a prominent instrument at times in other bands but it made us approach things differently, our song structure couldn't just be verse-chorus-verse. It had everything to do with how our sound got off to a unique start.[8]

Some of the songs they played in this period were released on the Mama LP of 1982, which was self-released in a limited pressing. Writing for Trouser Press, critic Ira Robbins described Mama and the early 7"s as "Devo on a jazz trip, Motörhead after art school, or Wire on psychotic steroids."[9] During this era, John also played in the punk band The Infamous Scientists.

With Andy Kerr (1983–1992)[edit]

In 1983, the group added guitarist and vocalist Andy Kerr, who played with John Wright in The Infamous Scientists.[7][10] He brought a distinct hardcore punk edge to the group's sound, creating a buzz-saw guitar tone by playing through a Fender Bassman amplifier and a P.A. speaker. The band became a fixture in the British Columbia punk scene despite playing music which did not always conform to punk rock standards. The You Kill Me EP in 1985 on the Undergrowth Records imprint exhibited their experimental sound on dark and ponderous songs like "Body Bag," and also included a cover of "Manic Depression" by Jimi Hendrix. The three also began performing Ramones covers and more traditional punk music as The Hanson Brothers, a side project which would later receive more of their attention and energy.

They soon signed with the seminal punk rock Alternative Tentacles label, run by Jello Biafra of the Dead Kennedys. This, alongside frequent touring in North America and Europe, allowed the band to garner a larger audience. Initially issued by Psyche Industry, Alternative Tentacles co-released Sex Mad, the band's second LP and first with Kerr. The album further expanded the band's experimental and progressive punk sound, yielding the single "Dad." The song was a minor college radio hit, which All Music reviewer Adam Bregman called "a bit chilling, even though it's spit out at slam-pit's pace".[11] Kerr, the song's lead vocalist, increasingly became responsible for lead vocals as Rob Wright suffered from nodules on his vocal chords.

In 1988, the group issued two releases which were recorded with producer Cecil English: The Day Everything Became Nothing, an EP, and the Small Parts Isolated and Destroyed album. Alternative Tentacles issued the two together on a single CD, The Day Everything Became Isolated and Destroyed. All Music reviewer Sean Carruthers called the experimental recording "less aggressive" than, but nonetheless worthy of, the band's previous efforts.[12]

Rob Wright's vocal chords began to heal, and he again began taking many of the lead vocal duties. In 1989, the band issued their fourth album, Wrong, to wide critical acclaim. For All Music, Carruthers wrote that "[t]he playing is incredibly skilled;"[3] while critic Martin Popoff in writing for the The Collector's Guide to Heavy Metal called Wrong the band's best album and rated the album 10 out of 10 points. Popoff wrote, "Wrong was the mightiest merger between the hateful aggression of punk and the discipline of heavy metal."[13] The band's extensive touring in support of the record is documented in part on the Live + Cuddly live album, recorded in Holland in 1990.

The band issued a collaborative LP with Biafra, The Sky Is Falling and I Want My Mommy, in 1991. Shortly thereafter, they released 0 + 2 = 1, their final album with Kerr. In a mixed review, All Music critic Adam Bregman praised 0 + 2 = 1 for its finer moments, but was concerned by its overall length and ponderousness.[14] Kerr departed the band after touring in support of the record and emigrated to the Netherlands. Kerr later released two LPs with Hissanol with Scott Henderson of Shovelhed, released a solo album in 1997, and formed the duo Two Pin Din with Wilf Plum of Dog Faced Hermans in 2005.

Side projects, return to two-piece lineup (1992–1993)[edit]

The Wright brothers had begun to focus on their side project The Hanson Brothers. Dressing as a mock group of backward Canadian ice hockey players and fans, they derived the band's name and personae from a group of characters in the 1977 George Roy Hill film Slap Shot starring Paul Newman. With John acting as lead vocalist, the Wright brothers were joined by guitarist Tom Holliston of the Showbusiness Giants, and drummer Ken Jensen of D.O.A. The Hanson Brothers issued their debut album, Gross Misconduct, via Alternative Tentacles in 1992. Rob Wright began performing as a solo artist under the name Mr. Wrong, appearing as a character dressed as an authoritarian priest. John Wright became a member of D.O.A. for several years. The Wright brothers also continued to expand Wrong Records, their own imprint.

Soon thereafter, Rob and John Wright assembled material for a seventh Nomeansno LP and recorded Why Do They Call Me Mr. Happy? as a duo. All Music critic Ned Raggett later praised the album's balance of dark and sinister depths alongside subtler and introspective moments.[15] They also compiled the collection Mr. Right & Mr. Wrong: One Down & Two to Go, comprising early demos, studio outtakes, and additional material.

Addition of Tom Holliston (1993–2006)[edit]

For touring in support of Why Do They Call Me Mr. Happy?, Nomeansno assembled their first four-piece lineup, completed by Hanson Brothers guitarist Holliston and second drummer Ken Kempster. Kempster would tour sporadically with Nomeansno over the next four years, while Holliston replaced Kerr as their full-time guitarist.

The first Nomeansno album to feature Holliston was The Worldhood of the World (As Such) in 1995. Receiving its title from philosopher Martin Heidegger's seminal text Being and Time, the album exhibited a deeper "embrace of poppiness" than its predecessors[16] while nonetheless retaining the band's "taste for blood and gristle."[9] After focusing briefly on the Hanson Brothers and releasing their second LP, Sudden Death, Nomeansno followed with the EPs Would We Be Alive? and In the Fishtank Volume 1, each featuring a cover of "Would We Be Alive?" by The Residents. Their ninth studio album, the double LP Dance of the Headless Bourgeoisie, was released in 1998.

The band issued its final Alternative Tentacles album, One, in 2000. Featuring a slow stoner rock cover of The Ramones' "Beat on the Brat" and a fifteen-minute version of Miles Davis' "Bitches Brew" with electric piano and congas, the album was well received. All Music critic Tom Schulte praised its "intense and heavy collegiate punk" as the band's finest effort since Wrong.[17] Three outtakes from the album were also issued as the Generic Shame EP on Wrong Records.

The band left Alternative Tentacles in 2002, and began slowly reissuing their back catalogue through Wrong and distributors Southern Records. With new drummer Ernie Hawkins, The Hanson Brothers released their third album, My Game, later that year. Nomeansno continued touring extensively, but ultimately took six years to release their next album. In the meantime, they issued the best-of compilation The People's Choice. Their eleventh studio album, All Roads Lead to Ausfahrt, was issued on August 22, 2006 by AntAcidAudio in the United States and Southern in Europe.

Later years, hiatus, retirement (2007–2016)[edit]

The band toured frequently, but ceased recording albums thereafter. Freak Accident drummer Mike Branum joined The Hanson Brothers in 2008. In 2010, Nomeansno issued two four-track EPs, Tour EP 1 (alternately known as Old) and Tour EP 2 (alternately Jubilation). Later that year, they digitally issued outtakes from 0 + 2 = 1 as 0 + 2 = 1 ½. They continued performing live through 2013, but entered a hiatus thereafter.

Holliston continued to perform with The Showbusiness Giants and release solo albums, while John Wright later began working as musical director for the all-robot rock band Compressorhead. In 2015, Nomeansno was inducted into the Western Canadian Music Hall of Fame.[6] Holliston announced his departure from the band in August 2016. One month later, on September 24, John Wright announced the band's official retirement.[18]

Band members[edit]

Timeline

Discography[edit]

Videography[edit]

  • Would We Be...Live? (Live footage of Nomeansno and The Hanson Brothers, filmed in London, on DVD) (2004)

See also[edit]

References[edit]

  1. ^ Gold, Jonathan (1996). "Spins: Platter Du Jour - 7 - NOFX - Heavy Petting Zoo". Spin. Camouflage Associates. 12 (1): 113. 
  2. ^ Mosurock, Doug (August 3, 2006). "Dusted Reviews: Nomeansno - All Roads Lead to Ausfahrt". Dusted Magazine. Retrieved 25 October 2010. [...] Something broke within Nomeansno following their masterstroke some 17 years ago (and it is that, one of the most aggressive and powerful opuses in post-hardcore ever made), and it hasn’t properly healed. [...] 
  3. ^ a b Carruthers, Sean. "Wrong Review". Allmusic. Retrieved January 1, 2011. 
  4. ^ "Live & Cuddly Review". Allmusic. 
  5. ^ Burian, Al (1 October 2012). "Going Gray with Nomeansno". Vice. Retrieved 4 July 2013. 
  6. ^ a b "Nomeansno to Be Inducted into Western Canadian Music Hall of Fame". Exclaim!. June 10, 2015. Retrieved September 25, 2016. 
  7. ^ a b c d Barclay, Michael; Jack, Ian A. D.; Schneider, Jason (2011) Have Not Been the Same: The CanRock Renaissance 1985*1995, ECW Press, ISBN 978-1550229929
  8. ^ Nielson, Jeff (November 2010). "I Am Wrong: An interview with NoMeansNo's John Wright". The Big Takeover. Retrieved 1 June 2013. 
  9. ^ a b "Nomeansno". TrouserPress.com. Retrieved 2007-01-07. 
  10. ^ Earles, Andrew (2014) Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981-1996, Voyageur Press, ISBN 978-0760346488
  11. ^ "Sex Mad/You Kill Me Review". Allmusic. 
  12. ^ Carruthers, Sean. "Small Parts Isolated and Destroyed - NoMeansNo". AllMusic. Retrieved September 25, 2016. 
  13. ^ Popoff, Martin: "The Collector's Guide to Heavy Metal", page 316. CG Publishing, 1997
  14. ^ Bregman, Adam. "0 + 2 = 1 - NoMeansNo". AllMusic. Retrieved September 25, 2016. 
  15. ^ Raggett, Ned. "Why Do They Call Me Mr. Happy? - NoMeansNo". AllMusic. Retrieved September 25, 2016. 
  16. ^ Raggett, Ned. "Why Do They Call Me Mr. Happy? - NoMeansNo". AllMusic. Retrieved September 25, 2016. 
  17. ^ Schulte, Tom. "One - NoMeansNo". AllMusic. Retrieved September 25, 2016. 
  18. ^ "Victoria Band No Means No No More, Announces Retirement". Times Colonist. September 24, 2016. Retrieved September 25, 2016. 

External links[edit]