The four untitled tracks that make up No Canal are stylistically both familiar and new. While two of the songs feature the mechanical churning of previous Mouthus efforts, the other two stray from the group's comfort zone with mixed results.
The first track signals a departure right away with its clean pitches, backing drones, and a contemplative mood that almost feels maternal. Unfortunately, its high level of tape hiss somewhat sullies the effect, but it works well enough at low volumes. The second track returns to the abrasive guitars and drums I have come to expect from Mouthus, and it doesn't disappoint. Its crushing rhythm shambles along nicely with the guitar loops and feedback, falling into an enjoyable ear-splitting groove.
The album's most puzzling anomaly is the third track. While the instruments play light jazz that would sit well in a David Lynch movie, it is ruined by excessive distortion that quickly becomes grating and unnecessary. While much later on in the song the two parts find a somewhat peaceful coexistence, the abrasion has already done its damage. If it had been lower in the mix it may have worked better with the other instruments, but as it stands, the track is memorable only for its annoyance. Conversely, the last track is the album's best with its loping rhythm, distant harmonics, and scattered noises.
Despite a misstep or two, the good outweighs the bad to make this a solid album. If nothing else, the departures here prove that Mouthus still have a lot of uncharted territory to explore.
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