The OBNIIIs may be from Austin, but their sound is a lot more Detroit, 1979. Or for that matter, Sydney, 1979. They’re one of a select few bands who’ve been able to capture the ferocity and menacing, chromatically-charged brilliance of legendary Australian-via-Detroit garage punks Radio Birdman. They get one of the best guitar sounds of any band on the planet, a deliciously screaming, natural distortion-fueled burn. And as you would expect, they’re a volcanic live band. They’ve got two recent albums out, one a delicious live set, and a couple of NYC shows coming up. On Oct 24 they’ll be at Baby’s All Right in south Williamsburg guessing at around 11 (the club calendar doesn’t say) and the following day, Oct 25 at Cake Shop at 5 PM for free. Much as they deserve to headline a venue like Bowery Ballroom, there’s nothing like being up close to their overdriven amps in a small club.
The Live in San Francisco album – streaming at Bandcamp - is the latest one. They open with Off the Grid, which draws a straight line back to the Stooges’ Search & Destroy. Runnin’ on Fumes opens with an unhinged Tom Triplett lead guitar line straight out of the Cheetah Chrome playbook and pounces along with a Train Kept a-Rollin-on-crank intensity. So What If We Die takes the Iggy vibe a couple of years forward toward the Kill City era: “California smokes too much weed,” frontman/rhythm guitarist Orville Bateman Neeley III randomly informs the crowd as the song nears the end.
New Innocence mashes up garage-rock changes with more off-the-rails leads from Triplett. After putting a heckler in his place, Neeley leads the band into more post-Yardbirds stomp with Damned to Obscurity. “I gotta get me a new line of work ’cause this don’t exactly pay,” he muses on the stomping Birdman-style party anthem Uncle Powerderbag. The band jams raggedly while Neeley taunts the crowd – the guy is funny – and then winds up the show with No Time for the Blues, the most evilly Birdman-ish song of the night.
Third Time to Harm – also streaming at Bandcamp – is the studio album before that. To their credit, it sounds just as live as the concert album. The version of No Time for the Blues on this one has Triplett ripping through volleys of chromatics like Deniz Tek back in the day. And the version of Uncle Powderbag has studio-clear lyrics, which helps – we all know somebody like this guy. Maybe it’s us…yikes.
The band gets slightly more calm on The Rockin’ Spins, a Flamin’ Groovies soundalike. They go in an unexpectly metalish, growling direction with the long instrumental intro to Queen Glom until bassist Michael Goodwin goes way up to the top of the fretboard and signals a turn into Brian Jonestown Massacres-style murk. They follow that with Beg to Christ, a macabre mini-epic that brings to mind Blue Oyster Cult or the Frank Flight Band - or the Radio Birdman classic Man with Golden Helmet.
From there they segue into the similarly ghoulish, goth-metalish Brother, propelled by drummer Marley Jones’ brontosaurus thump. Parasites goes in more of a snide roots-rock direction, like the Del-Lords. They bring back the Birdman savagery with Worries, a sarcastically apocalyptic number that’s the the best one here. If adrenaline is your thing, it doesn’t get any better than this.