A four-piece hailing from Malmö, Sweden, The OhNos specialize in raw, anthemic garage punk. That may not read like a bombshell exploding onto the contemporary radar screen, but the scoop is The OhNos do it right. Their debut came out back in 2017 and it’s follow-up Waving From Hades was released last October via Beluga Records, but don’tcha just know it, the Memphis-based Black & Wyatt Records is distributing copies of the LP stateside. The album’s loaded with 11 raucous catchy bangers that cohere into a righteous power kick.
The OhNos are Anna Wagner on guitar and vocals (lead and backing), Åsa Meierkord on guitar, vocals (lead and backing), harmonica and whistles, Sanna Rönngård on bass, backing vocals, and flute, and Malin Olsen on drums, backing vocals, acoustic guitar, percussion, and xylophone. The band’s first album Sounds From the Basement was issued by Rundgång Rekords; vinyl copies are still available on Bandcamp. The debut is a solid affair, but the new LP is a tangible improvement, with the sharpening of quality perhaps due to an unchanged lineup.
The comfort of familiarity, strength built upon longevity, and yes, constant practice, as The OhNos thrive in a style where practice is a must. It’s clear right away in Waving From Hades’ opening title track, which is raw and hard driving but fully-formed melodically, with touches of echoey-dreamy ’60s flair amid an extended lyrical cop from the Violent Femmes’ first album.
Bold swipes of influence without a hint of anxiety underscore that it’s preferable to be memorable than original. Off to a strong start, “Final Call” is a fast-paced and hard-pounding belter, while “Trouble on Legs” luxuriates in the spot between raving-up and getting tuneful. Next, “The Light at the End of the Tunnel is Only Eternal Hellfire” dishes a few deftly handled tempo changes and reinforces the necessity of practice.
“Message From My Past Life” is loaded with vocal harmony and hard slapped drums, and “Kiss the Boot” matches the unflagging rhythms with raw guitar chugging and an undercurrent of sheer catchiness. The tempo shifts return in the vaguely blues-punky “Desert Dreams” and sets up what might be Waving From Hades’ highpoint; that is, “Hifi Phono” is likely the only song to immediately follow a lyrical swipe from A Tribe Called Quest with one from ZZ Top.
But then “Tommy Gun” takes a wonderfully fist pumping hunk of throttle action and injects it with a brief passage that hints at a dub influence before kicking back into full-on bashing mode. “Stop” begins fairly melodically only to gradually transform into total punk rage gush by track’s end. And then “Ngbg” saunters back to the border of a blues-punk scenario before switching up the program for a near dance-punk finale.
As Waving From Hades unwinds, The OhNos manage to avoid any tactical blunders. It’s a lack that reinforces their collective good judgment and establishes their second album as a considerable achievement in a crowded field.
GRADED ON A CURVE:
A-
