How I didn’t know of Portland band Obedient until their fourth album, which they’ve just released today, is a complete mystery. I mean, they are feminist, chaotic and punk, with clear echoes of the 90s riot grrrl movement and she-punk bands such as X-Ray Spex and The Slits. They sound exactly like the sort of band I should surely have heard of by now, but somehow, no!
Luckily, I got the chance to review their latest, self-titled album. It starts explosively with ‘2026’, taking the frustration of our dystopian modern technological landscape and turning it into a messy, infectious punk song that will make you want to run into the nearest sweaty live venue as soon as possible and bounce around.
That is exactly what this album makes me want to do, and I don’t even do moshpits (I’m too much of a wimp). This album is relentless, but there’s more to it than simply being loud and chaotic. There’s a real groove running underneath all that noise, with driving bass and drums providing a rhythm that makes you want to move, while the guitars and saxophone squeal and screech over the top. The saxophone in particular brings to mind the unmistakable sound of X-Ray Spex, and it’s especially prominent on ‘Dissociate’, where it adds another layer to the already wonderfully unhinged punk sound. It’s a brilliant combination of abrasive noise and infectious rhythms that makes me want to dance and pogo in equal measure.
Lacey Karbomb’s vocals are another highlight. They’re demanding, raw and full of attitude, bringing to mind the confrontational delivery of bands like Babes in Toyland. There’s no holding back here, and she certainly isn’t asking politely for your attention. ‘Fire Sale’ is a particularly good example, opening with a series of ‘wow wow wow wow wow wow’ sounds that make her sound like a fire siren before launching into full-on sassy, confrontational punk vocals. It’s difficult not to smile at the sheer audacity of it all.
There’s a real sense of fun running through the album, too, despite the abrasive sound and underlying frustration. ‘Leisure Class’ is a particular highlight for me, with its infectious rhythm making it impossible to resist the urge to dance. This is punk that doesn’t just make you want to shout at the state of the world; it makes you want to throw yourself around a room while doing it.
There’s something particularly appealing about the way Obedient bring all these different elements together. There’s the raw, abrasive energy of no-wave and feminist punk, the unmistakable echoes of riot grrrl, and those infectious rhythms that keep pulling you back in. Recorded over just three days in the basement of a Victorian mansion on the Oregon coast, there’s an urgency to the album that feels perfectly suited to its sound. It’s messy, confrontational and full of character, but never at the expense of a bloody good tune.
It’s also an album that feels particularly welcome right now. With ‘2026’ taking aim at the increasingly dystopian world we’re living in, there’s plenty of frustration bubbling away beneath the surface. But rather than leaving you feeling weighed down by it all, Obedient turn that frustration into something you can dance, pogo and let loose to. Sometimes a bit of chaotic punk rock is exactly what you need.
I’m still wondering how on earth I’ve managed to miss Obedient until now, but I’m certainly making up for lost time. If you’re a fan of riot grrrl, no-wave, feminist punk or just music with plenty of attitude and absolutely no interest in behaving itself, then this is well worth your attention. I’ve clearly got some catching up to do with their back catalogue, and I suspect I’m going to enjoy every minute of it.
Obedient is out now and you can buy it on Bandcamp
Obedient Socials: Instagram
Review by Hayley Foster da Silva
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