The Linda Lindas – ‘No Obligation’ album review: young punks showing they’re not a flash in the pan
THE SKINNY: Often, when a band is championed at a such a young age, they often quickly fade into yet another disappointing example of what could have been, and a reflection of the need to nurture young talent patiently. One group who eschews this common trend and have continued to develop quickly and refine their sound is The Linda Lindas. Their second album, No Obligation, shows that their debut and the early signs were not a flash in the pan.
The new album is a collection of 12 accomplished tracks that not only clearly demonstrate the band’s artistic scope and the breadth of their collective imagination but also that there is much still to come from an outfit that might have been around for what feels like a while now, but are still so young. With the eldest member, Bela Salazar, being only 20, and the youngest, drummer Mila de la Garza, just 14 – eye-wateringly young to be making music so full-bodied – what the band have crafted in No Obligation points to a verdant future.
Across the record, the Californians stretch their scope. While there are some moments that are similar to each other when you note just how evergreen they are, any real criticism is nullified, as most people of their age couldn’t even hope to write something anywhere near as substantial.
The quartet also instils a few key twists to confirm they’re evolving. This includes toying with both the heavier and melodic inclinations they have by tapping into 1980s hardcore and 2000s pop-punk, as well as drawing upon a wider berth of instruments to thicken out their sound, including the accordion. Elsewhere, the vocals are also fantastic, backed by equally as refined production from Carlos de la Garza – father of half the band – who understands their sound, motivations and where they’re heading.
No Obligation is a bloody good album that promises energetic punk, frank vocals and no end of singalongs. What more could you want?
For fans of: Mosh pits, calling out assholes in public, and punk rock in its purest form.
A concluding comment from your local gatekeeper: “This isn’t hardcore bro, and neither are the Dead Kennedys; I don’t hear any beatdowns?”
No Obligation track by track:
Release Date: 11th October 2024 | Producer: Carlos de la Garza | Label: Epitaph Records
‘No Obligation’: A crunching slice of 1980s-leaning hardcore. It’s a furious opener, wherein the band make it immediately clear they’ve lost none of their vital political edge on the second album and, in this instance, have just married it with some welcome Dead Kennedy’s-evoking guitars and energy. [4/5]
‘All In My Head’: A more wistful number boasting introspective lyrics and chorus-laden guitars, the second stop also features what might be the catchiest chorus on an album stuffed with them. Think the contemporary equivalent to early Best Coast. It’s a total lovelorn singalong. [3.5/5]
‘Lose Your Self’: The Linda Lindas sure do have a knack for a hook. Another moment where the chorus is placed front and centre, this is exactly the kind of track that will earn them new fans from across the musical spectrum due to its undeniably hooky chord progression and vocal melodies. The group vocals of “What are you gonna do now?” and the “Hey Hey” in the background will be stuck in your head for a while. [3/5]
‘Too Many Things’: An instant Linda Lindas staple. Kicking off with the energetic palm mutes and driving 4/4 beat, it has ample mood, and honestly, if this was the late noughties, it would probably have been a big rock hit. It’s really good, and has you bobbing along throughout. The guitar tones are excellent, too. [4/5]
‘Once Upon A Time’: A return to the more tender side of the band, complete with choppy six-strings, emotive dynamic changes and another excellent bassline. It takes me back to the heady days of 2012 when bands like Wavves were all the rage, and it’s absolutely fantastic. [4/5]
‘Yo Me Estresso’: The Linda Lindas have many strings to their bow. Sung in Mexican and about being overly stressed, there’s ample tension in parts of this song that are ingeniously offset by a chorus of pure melodic splendour and an accordion, which work in tandem with some fantastic backing vocals to alleviate the pressure. [4/5]
‘Cartographers’: Opening with expressive thuds of the snare and toms, this one slowly builds as the quartet’s harmonious vocals envelop you. Then, the driving beat emerges, pulling you along on another spirited journey that is one of the most accomplished on the record. It’s cogent and compelling, with flecks of early Weezer. [4/5]
‘Don’t Think’: A slice of pure pop-punk energy, you’d have to be a real heart-hearted miser not to enjoy this one, which sees the quartet unapologetically go for it. [3.5/5]
‘Resolution Revolution’: The band obviously sense that they’re on to something with the wackier side of things they explore on No Obligation, with them delving into the darker side of life once more. From the vocal delivery to the gritty chord progression, this track has a lot to it, and I wonder if they’ll continue to scour this area further in future. Those Batman-esque backing vocals in the pre-chorus are fantastic. [3.5/5]
‘Something Bout the Way’: A shimmering composition that perfectly bottles that strange, intangible sense of teenage nostalgia everyone who’s come out the other side knows well, this is another that veers into pop-punk and will appeal to a greater berth of listeners because of it. Usually, I’m not largely a fan of the genre, but the chorus is wicked; it just drives itself into the brain. [4/5]
‘Excuse Me’: Utterly clangorous, with Eloise Wong taking the vocals again, this is mosh pit heaven. It does the talking for itself. The squeaking solo in the final moments is really good, as well. [3.5/5]
‘Stop’: Opening the track, Bela Salazar issues a pointed takedown of an obnoxious jerk we can all recognise despite the personal essence of the lyrics. Defiant but wonderfully harmonious, the group toe the line adroitly between their twosides, making for a fitting finale. [3.5/5]
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