The Best Albums You Probably Haven't Heard

Burning Airlines

Identikit

2001

DeSoto Records

Review by Jim McDonald

There are a handful of musical geniuses who will never be fully appreciated for their contributions to their art form.  In the world of post punk there is J. Robbins.  Those who know the unsung hero of noise tend to think of his work as singer/guitarist/songwriter for the Jawbox, a band who created a sound that was unique, harsh and melodic.  Few are aware of his activity with punks Government Issue starting in 1986, and his post Jawbox bands Burning Airlines, Channels, and Office Of Future Plans.  Beyond these, he has produced some of the most underrated albums of the last few decades, including released by Braid, mewithoutyou, Jets To Brazil, The Promise Ring, Hey Mercedes, Jawbreaker and Against Me.  Considering all his projects, it’s the feeling of this writer that Robbins produced his best work with Burning Airlines. 

Burning Airlines emerged after the demise of Jawbox as a trio featuring former bandmates Bill Barbot (bass, ex-Jawbox) and Peter Moffet (drums, ex-Government Issue).  While Jawbox had a wild and untamed sound, their accessible, self-titled release on Atlantic Records alternative subsidiary TAG in 1996 showed the band focused to a cutting edge that mixed just enough pop melody with the trademark Jawbox noise to bring the band widespread attention.  Just when success lingered around the corner Jawbox broke up.  In the aftermath Robbins created Burning Airlines, a melodic noise rock outfit that picks up well from where Jawbox left off, adding a greater sense of fun and emphasis on J. Robbins’ top notch work as a lyricist. 

While many reviews have claimed that the band’s debut, “Mission: Control!” is Burning Airlines’ best work (often citing the presence of Barbot who left after this release as a rationale), I am fond of second, and final, release “Identikit.”  This overlooked gem opens with a roar as “Outside the Aviary,” a fairly straight forward driving punk number with a quirky Jawbox riff during the verses, smart lyrics, and a catchy melody that sticks to the brain.  “Morricone Dancehall” kicks in before the awe inspired by its predecessor has time to dissipate.  This track offers a funky take on the meandering noise produced by Jawbox, but in a slick, fun, upbeat and melodic package.  It’s this mix of unexpected swirling and clashing guitars with melody and a joy that didn’t often come to the forefront in the intensity of Robbins’ previous band. 

While there are no real ballads on a Jawbox album, the slow paced and introspective “A Song With No Words” and “A Lexicon” offer a unique tone and feel I haven’t encountered elsewhere.  “A Lexicon” creates a hypnotic effect by juxtaposing a staccato guitar riff with a busy, counter-melodic bass line.  Lyrics such as “We are, we are steering by falling stars.  We’re swearing upon a lexicon of scars” are delivered with an energy that pulls the listener in.  “A Song With No Words” is as close to a love song as the band delivers with a prominent staggering bass line behind a guitar line that would sound drunk and piercing alone.  In the end the mix of these dissimilar parts creates a landscape that is unique and haunting, the perfect background for Robbins to paint a lyrical mosaic upon.  Neither of these songs is devoid of power, and both are eerie and beautiful. 

While many lament the lack of Barbot’s bass on this album, Mike Harbin creates quirky bass melodies that become the focal point of many songs.  Title track “Identikit” boasts a nearly whimsical bass line, creating a counterpoint to Robbins’ swirling, schizophrenic guitar work during the verses.  As the chorus approaches the band pulls together into a tight syncopated rhythm.  In “All Sincerity” a surprisingly simple bass riff holds the song together being the glue that holds the seemingly mismatched guitar and drums together.  The brooding “Surgeon’s House” has but a few soft guitar notes in the verse, allowing Harbin’s eccentric bass line to become the main rhythm for much of the song.  While often a busy bass can make a song sound cluttered, Harbin is obviously of the Brian Ritche (Violent Femmes) school of bass guitar, playing the instrument like a lead instrument while still holding down the low end.  Harbin’s bass adds texture and emotion, and is a primary factor in the magic that permeates this release. 

“Identikit” is the album I always wanted to hear from J. Robbins.  The soundscape shifts from driving punk, to introspective improvisation, all mixed with a  dash of pop melody and outstanding production.  It’s a shame that the band called it quits after the tour in support of this bit of musical genius.  As for me, I will continue to rock out to “Paper Crowns” and croon along to “Dear Hilary” for years to come.  These songs stand the test of time, always sounding current – a testament to J. Robbins’ abilities as a songwriter.  Every now and then I introduce a new to the wonder that was Burning Airlines and watch their face as they take in “Identikit” for the first time.  It is truly a lost treasure worthy of reclaiming.