Review: FACS, Chicago’s Trusted Punk Band, Drops Chilly New Album
he days of Disappears is now executed with a more aggressive tone, and the band’s output fits into some of the looser criteria for punk music. These songs definitely take you places, but the brutalist streak is too strong for FACS to truly sound psychedelic in the traditional sense. Still, there’s plenty of experimentation and strong musicianship on Wish Defense that make it a satisfying listen.
The album commences with an ominous introduction as the grumbling bass on the fittingly titled “Talking Haunted” leads into spindly guitar melodies and Case’s yelped vocals. The tempo doesn’t pick up until halfway through “Ordinary Voices” when Noah Leger’s drumming becomes more assertive and their melodies are made even more pointed by precise guitar playing and sneaky groovy basslines. The term “angular” immediately comes to mind, especially on “Wish Defense” when repeating riffs underscore some of the more climactic moments on the album. “I’m not here!” Case chants as his rhythm section thunders away.
It’s worth noting that this album was Steve Albini’s last project as a recording engineer as he passed away while mixing the record, and his influence is evident throughout. His rejection of over-tinkering suits a group like FACS, who already have a fully realized concept and know how to execute it. The finishing touches by John Congleton, who mixed the album the way Albini would have, resulted in a fantastic sound that pays homage to a legend. In many ways, working with a local band that fits Albini’s sonic wheelhouse might be a more fitting swansong than other collaborations.
FACS sound as good on this record as they might ever, especially considering Albini’s calling card of getting the drum sound absolutely perfect, showcasing the exceptional drumming of Noah Leger. The sounds are dry, with ample space between instruments that allow each musician’s playing to shine. The band has always been exceptional at creating an amplified racket with only three players, yet this album features sparser soundscapes compared to earlier releases. The cacophonous arrangements of “A Room” and “Desire Path” stand out, achieving a wall of sound without excessive reverb.
The gnarly bassline and hypnotic guitar on “Sometimes Only” feel like quintessential Chicago noise rock à la Jesus Lizard, with the band slowly layering the sound to immerse listeners into their chosen dark atmosphere. Whether it’s dystopia or inner turmoil discussed on closer “Your Future” where Case ponders self-dissociation, the listener can interpret the message. The band seems more focused on the personal and abstract currently, rather than specific political messages as reflected in their latest album.
Releasing six LPs in under a decade is no small feat, and FACS has maintained a consistent strain of arty noise rock without diminishing returns. While each release offers a slight update on the band’s sound, FACS have become one of Chicago’s most reliable local groups. This collection of songs feels timely, making their upcoming show in April at Thalia Hall even more appealing.
In conclusion, FACS continues to deliver their brand of rock music with Wish Defense, showcasing their evolution and musical prowess. Their sound remains fresh and engaging, providing listeners with a powerful and immersive experience that captures the essence of Chicago’s punk scene. With a blend of post-rock and punk elements, FACS proves once again why they are a force to be reckoned with in the music industry. Wish Defense is a testament to the band’s talent and commitment to creating impactful music that resonates with audiences.