One of the most fascinating and unconventional releases I’ve encountered this year, No More Children by Lou Kelly is an album that straddles the line between puzzling and astonishing. It feels like a kaleidoscopic stream of ideas, overflowing with experimental vigor, weaving together elements from prog, orchestral music, metal, and punk. While not every musical experiment on the album is an unqualified success, the few missteps are a minor price to pay for what is, without a doubt, one of the most unforgettable and truly progressive records in recent memory. For the daring listener, No More Children offers an experience that is bold and engaging at the same time.
Lou Kelly‘s approach to avant-garde music can be likened to what Jim Jarmusch did for cinema—taking pieces from some of the greatest icons of the medium and reassembling them into something uniquely his own. While Kelly shares a similar avant-garde sensibility to bands like Sleepytime Gorilla Museum, No More Children brings to mind a multitude of other influential artists, each contributing to the album’s shape-shifting sound. Without an exhaustive list, one can hear traces of The Mars Volta, uneXpect, Kayo Dot, Between the Buried and Me, Voivod, Gentle Giant, Devil Doll, and even Ennio Morricone. These comparisons, while broad, point to the staggering variety Kelly brings into his compositions. Over the course of a single track, Kelly effortlessly shifts between genres like folk, thrash, power metal, carnival music, and dissonant fusion. While many avant- bands may attempt this eclectic approach, it takes a true artist like Kelly to transition between such diverse styles with finesse. Despite the frequent stylistic upheavals, the album never feels forced or chaotic; rather, Kelly’s handling of these genre shifts is seamless, and the flow between them is remarkably smooth.
The flow on No More Children is particularly remarkable considering the unconventional structure of the songs themselves. These pieces reject traditional, predictable forms in favor of something far more adventurous and freewheeling. Each track unfolds like a theatrical performance, swaying with the music’s emotional tides rather than relying on recurring motifs or themes for cohesion. This break from conventional structure is perhaps the most distinctive characteristic of Kelly’s work. If approached without prior knowledge, the album’s genre-hopping might seem erratic, but Kelly’s compositional genius lies in how he ties these shifts together with a playful spirit, a quality often lacking in similarly experimental acts. No More Children offers a balance between whimsy and seriousness, evoking the unpredictable, schizophrenic quality of Diablo Swing Orchestra, but with greater restraint.
One of Kelly’s most impressive feats is his ability to deliver a performance that mirrors the diverse and shifting nature of the music itself. His vocal delivery spans a stunning range, from guttural growls to quirky sprechgesang, adapting fluidly to the musical changes. It’s rare to hear such a versatile vocal performance, with Kelly shifting between genres with a chameleonic ease. His death metal shrieks, in particular, are a force to be reckoned with, holding their own against the best the genre has to offer.
For an album that takes so many risks and challenges conventional norms, it’s remarkable that No More Children succeeds as well as it does. The release’s willingness to experiment with song structure and genre results in a refreshing, engaging experience that defies expectations. Lou Kelly has certainly made a bold entrance with this release. However, his frequent genre-hopping may alienate some listeners who are more accustomed to familiar structures. Still, No More Children stands out as one of the most exhilarating releases of 2024.
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For an album that takes so many risks and challenges conventional norms, it’s remarkable that No More Children succeeds as well as it does. The release's willingness to experiment with song structure and genre results in a refreshing, engaging experience that defies expectations.
