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They're innocent, they're simple, and they're filled with blindingly good hooks. It's all thrown together with a superb sense of knowing what works.
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It’s all quite charming and lovely.
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Post-Nothing is an album that deserves listens and that will definitely gather support with this re-issue.
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Yes, there’s technically more instrumental breadth in most episodes of Sesame Street, but this is a deeply, troublingly emotional record.
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The cacaphonous bursts of garage-rock fuzz on this young Vancouver duo's third album are the stuff of a thousand beer-soaked basement parties--shambolic, sweaty, and happily unrefined.
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FilterThis album has the beauty of controlled chaos, it's emotive yet carefree and secure. [Spring 2009, p.103]
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Vancouver duo Brian King and David Prowse throw themselves into every song as if it's the last one they'll ever play. That go-for-broke attitude carries their third album, which is less about the songs than the sheer joy of playing them.
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Their debut is a gale-force riot, a virtual tempest of joyous abandon.
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Regardless of classification, Japandroids have created something pure, something without pretense and without any concern for how smart or cool they will sound.
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Post-Nothing is their eight-song debut, and it goes by in a flash of infectious, sweaty anthem jams about angsty youth problems.
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This is terminally catchy music played with punk's enthusiasm and velocity, and maybe it's the fact that there's only two dudes in this band that makes you feel like joining in to bash along.
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Sure, there’s nothing at all novel about young dudes feeling immortal and wanting to get laid, but Japandroids infuse those well-worn tropes with enough energy and songcraft to make it feel refreshing.
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Filled with bounce, bite and surprising cohesion, Post-Nothing is a deceptive little piece that is as much fun as it is subversive.
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On their debut disc, Post-Nothing, guitarist Brian King and drummer David Prowse deliver a rush of fuzzed-out rockers and stoner-metal grooves, plus an awesomely bummed-out drone called 'I Quit Girls.'
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Maybe its sunstroke, but I feel compelled to suggest that two young Canucks trading in sludgy punk-pop tunes may have crafted a rock album that gets closer to perfection than any other album this year so far.
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Japandroids have a point of view (young, male, infatuated with the promise of the present) and an M.O. (excellently fuzzed-out garage rock played as if at the apocalypse), but more impressively, they've mastered another secret to swaying the public: confidence without smugness.
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Japandroids' (or JPNDRDS) first full length--Post-Nothing--is the perfect embodiment of the post-teen angst, excitement, anxiety and fuck-it artlessness of finally packing your bags and moving on, wherever the destination as long as it’s at least a million miles away from home.
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While King’s hyperdrive approach to laying guitar brick rarely sits perfectly flush with Prowse’s cyclonic drums, every spasm on the recording sticks. The combined explosions never quit popping until the muddy sigh of the heartbreaking closer, 'I Quit Girls.'
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'Young Hearts Spark Fire' showcases their gleeful exuberance, but even on more subdued numbers like 'Sovereignty,' they still sound like two kids who don't yet know their own strength.
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Post-Nothing is convincing in its candor to the point of exhaustion.
Awards & Rankings
User score distribution:
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Positive: 51 out of 57
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Mixed: 4 out of 57
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Negative: 2 out of 57
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Jun 18, 2012
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Aug 25, 2022
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BlueMeanieOct 4, 2009