Not Punk

White Hot

The pandemic was especially hard for musicians. The inability to perform for audiences and convene with fellow musicians to create left us all in a deeply isolating and unfulfilled state. For Ottawa resident (by way of Sudbury, Ontario) Michael Kenny, this alone time lead him to reflect on growing up in his local punk scene. Kenny identified with the free-spirited nature of punk, but was disappointed to learn that the local punk community exhibited gatekeeping tendencies. "If you didn't listen to certain bands or wear certain clothes... people really stuck their necks out to let you know that you didn't belong," Kenny shares. He appreciated everyone in the scene, but because he was influenced by a myriad of alternative genres in addition to punk, he felt that the sense of appreciation and encouragement was not reciprocated. It was deeply frustrating for a young (underage) musician who just wanted to get in front of an audience, and those punk shows felt like the only game in town. With that experience fresh once again in his mind and ready to return to music, Kenny wore his perceived 'uncoolness' with pride. "I look back with a smile and say that this record is most definitely 'not punk'."

This first album from White Hot - comprising of Kenny (guitar/vocals), Emmett Turkington (bass/vocals), Keith James (drums), as well as frequent multipurpose collaborator Keegan McDonald - is objectively Not Punk. It is rather an eclectic mix of rock and pop genres that instantly transports you to the beach, a purplish sunset in the distance as you overhear their tunes from a nearby FM radio. It may lack the modern punch of a rock record, but it does possess a rather longing and nostalgic vibe that is very fitting for the waning days of summer. While a great deal of the material here sounds on the more traditional end, the band doesn't always play by the rules so to speak. For example, the rowdy rock of Saloon takes an unconventional, yet subtle, dip into the realm of hyperpop by slamming backup vocals hard into pitch correction software. Or another example would be plunging half of Long Division into the trippy ambience of space using electronic synth pads, programmed drums, and modulated vocal delays. These are some pretty bold decisions from a self-proclaimed 'rock and roll' band. "It was never about cliques or being cool, it was about being able to express yourself without feeling [beholden to a certain standard]," Kenny remarked (with a slight paraphrase). As it turns out, there's a hint of irony behind the album's title after all.

Despite this being White Hot's first collection of tracks, the band is consistently solid and deliver a number of highlights. On the aforementioned Saloon, I think Kenny coyly laments on the drab state of the world and the decline in opportunity, all while making amusing references to the potential that is beyond our orbit. The verses have a lovely surf feel, doubling up the lead melody with reverbed guitars and soft electric pianos. Loud shots of distorted guitar intermittently interrupt casual acoustic guitars, foreshadowing grungy choruses ahead. We get shouty vocals in those choruses, but it's the distant 'woos' in the background that I'm a total sucker for. Following this is perhaps my favourite song on the record, Sidelines. It is an expertly written and produced 90s power pop tune that is undeniably catchy. The chorus is incredible with those thick, fuzzy guitars, and I also think it was smart how a clean guitar follows and augments Kenny's soft falsetto. There's some neat production flourishes as well like the shimmer of electric piano in the track's opening moments and the warbly tone of the lead guitar that comes in halfway through the verse. For the guitar solo, McDonald doesn't mess with the formula and simply copies the chorus melody, but of course adding an appropriate amount of swagger in his performance.

The good times keep rolling with Elgin St. Shuffle, which comes across as this joyous folk-rock jam with a touch of Americana (or I guess Canadiana in this case). Turkington penned and takes on vocal responsibilities on this one, and he sounds great. Compared to Kenny, he possesses a much more gruff voice, however, he comes across like a gentle lumberjack. Listening to this song, I envision him getting heartfelt greetings and pats on the back from all the townsfolk the moment he steps through those bar doors. I don't know how else to describe it. This song feels like community. It feels like home. Compare this to his performance on Annihilator a little later and now I'm a tad trepidatious. There's a touch of peril on this chugging, garage rock tune that feels heavily inspired by Ty Segall or Jay Reatard, especially with those robotic, deadpan barks of the song's title. I also get a touch of Queens of the Stone Age with the fiery sliding guitar solo around the song's midpoint. The band gets unconventional again for the song's conclusion, breaking things down to a half time crawl. They introduce a little syncopation into the chugging rhythm, and also incorporate a gliding monophonic synth that plays call and response to a timid and patient clean guitar lead.

These moments are great, but unfortunately, there were some parts that I didn't care for all that much. I think the album gets off to a rough start with the opener James Dean. Not particularly because I don't like the song or the performances, but rather because I think this one has the roughest mix of the collection. The song sounds a little flat to me, especially in the case of the drums. It's the opening track and I know the band was trying to come out of the gate with some heat and energy, but on a technical level, I don't think they were able to convey that. This song, however, does have some pretty cool guitar tones like the chorused effect after the first chorus or the modulation effect in the quieter breakdown section. Sadly, I also couldn't get behind Long Division. I appreciate the experimentation as well as the stark change in sound, but I find the song kind of stays in the same place for an extended period of time and I'm not all that compelled by the melody or performances. The tune becomes a little more urgent in the final minute as we get more aggressive distorted guitar stabs and crashing cymbals. Although, by that point I think the impression (or lack thereof) has already been made.

Despite these two tracks, I still found this to be a very enjoyable mini-album. I think it's admirable how the band can create these very catchy, familiar sounding rock tunes, but do it on their own terms. The band isn't afraid to experiment with guitar tones, vocal processing, or unconventional electronics and for that reason they are probably more interesting to listen to sonically than any number of 'true blue' rock bands out there trying to keep that tradition alive. Not Punk is maybe not the most cohesive sounding record as the band hops from style to style, but I can tell you that whether you're into surf, garage, indie, or power pop, this album has something for you.