Review by Jon McAllister

It’s safe to assume that our Spaced-out Surf-Punk needs have been lacking the attention they once received from Man or Astro-man? over a decade ago.  After releasing 10 fantastic full-length albums (not to mention nearly 30 7” singles/EPs) between 1993 and 2001 and touring relentlessly in between recording sessions, the band of self-claiming “extraterrestrials” packed up their proverbial space-van and blasted off into such an extensive hiatus, it seemed MOAM? had no intent on returning.

However, us Earthlings no longer have anything to fear: MOAM? is back in its full, original force with Defcon 5..4..3..2..1.

Defcon is outright colossal, from classic reverb’d out surf-shred guitars all the way to signature Sci-Fi themes in synthesizer-based intermission tracks.  Though MOAM? returned on a crashing tidal wave (from space, obviously), Defcon interestingly seems to have coasted in with an experimental combination of the space-surf sounds with pop lyrics and vocal progressions.

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“DEFCON 5” opens up the album with a whirring synthesizer crescendo that drops the listener right into a monstrous progression, setting the tone of the album with a heater of a song.  The heavily distorted, droning rhythm is complimented by a shimmering lead, plucking and whammying as a strange introduction to this massive, spacey surf sound.  As the gritty rhythm dissipates for a moment, a choppy vibrato lead enters to remind the listener what it is to truly be ‘surf rock.’

The following tracks follow the opening tune nicely, between the wild noise-synth bridge “Antimatter Man” and the robot voice repeating the song-title, “All Systems to Go,” as a call and response to the spiky-surf leads and rubbery whammy bends of the rhythm guitar.

Later on, “Codebreaker 78” and “DEFCON 3” – while reminiscent of the classic MOAM? – utilize a tweak in tone with more rhythmic restraint to create heavier rhythms and clear-cutting leads. “Communication Breakdown Part 2” delivers MOAM?’s surfy styling of the dance punk genre.  The guitars are used less in a surf style, and more as a noise component (Like, Franz Ferdinand riffs on Sonic Youth guitars).

The droning rhythm in “Disintegrate” offers guitarist and occasional singer Star Crunch the opportunity for psychedelic, guitar-led vocals that back the coolness/catchiness of the interstellar lyrics (Well I feel it comin’ apart / got my head full of stars / when I’m fallin out of space / you calm me down, I disintegrate).  Basically, it’s a cool-ass hook for a band exclusively draped in themes of science fiction and outer space.

With so many of Defcon’s tracks being successfully huge, the album’s ninth track, “Arc,” comes short.  The mid-tempo rhythm along side with the (very) repetitive guitar leads get boring fast.  Where Star Crunch succeeds lyrically in “Disintegrate,” he fails with bland verses (If I could, walk, walk, walk, walk, walk, walk a million miles to you / you watch me float back to the ground / yeah that’s all I can do).  The dragging melodic and lyrical components are nearly saved by the mountainous, noise guitar that appears after each hook, but it just doesn’t do enough for the song as a whole.

Defcon 5..4..3..2..1 is overall a great return album for Man or Astro-Man?.  Fans who have been along for the ride in the 90s and the decade long wait for the release are in luck.  Few bands can take the sound they started with and come this far without losing power – let alone making it even more massive after a 12 year break.

These surfing aliens still got it.

Score: 4/5

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