Chicago’s noise rock legends Big’n are back with their first full-length album in 28 years, End Comes Too Soon. With a career rooted in the gritty, abrasive sounds of the 1990s, the band has reemerged as an ultimate force ready to tear down everything in the broader radius. This latest effort is an unrelenting showcase of their signature sound, blending the chaos of noise rock with the precision of post-hardcore, and it’s as raw, cathartic, and powerful as anything they’ve ever produced. Recorded at Electrical Audio under the helm of Shane Hochstetler, the album carries the sonic heft and clarity that the studio, and its late founder Steve Albini, have become legendary for. This album is more than just a collection of songs, it’s a sheer example of Big’n’s enduring vitality, their place in the noise rock pantheon, and their ability to channel the angst and ferocity of their youth into something transcendent.
William Akins’ vocal performance is the emotional linchpin of this material. His voice, simultaneously guttural and melodic, delivers layers of tension and intent, turning each track into a visceral experience. Akins doesn’t just sing, he embodies the music, his yarling delivery cutting through the cacophony like a primal scream. Whether snarling through heavier passages or delivering contemplative moments with unnerving clarity, Akins’ vocals provide the emotional heartbeat of the record. He humanizes the angular chaos, grounding the band’s pulverizing soundscapes with a sense of raw, unfiltered humanity. The riffs are unforgettable, catchy, dissonant, and utterly captivating. Todd Johnson’s guitar work exemplifies controlled chaos, oscillating between clangorous distortion and intricate harmonics with practiced and instinctive confidence. His tone is unmistakable, a biting, metallic edge that manages to sound simultaneously abrasive and melodic. The songwriting here is anything but conventional. Big’n thrives on unpredictability, crafting songs that feel like labyrinthine explorations of sound rather than linear narratives. Yet, within the noise and complexity, there’s an undeniable sense of cohesion. The riffs aren’t just memorable, they’re essential, serving as the backbone of each composition while leaving room for experimentation and improvisation.
Fred Popolo’s basslines sound equally jaw-dropping. They provide a warm, metallic foundation that anchors the chaos of Johnson’s guitar and Akins’ vocals. But these aren’t just simple root-note accompaniments. Popolo’s playing is intricate, threading in melodic counterpoints and rhythmic complexities that elevate the songs to another level. The bass not only provides punch and groove but also adds a sense of weight and depth to the already massive sound. It’s a bass work that demands attention, a crucial element that underscores the power and precision of Big’n’s compositions. Brian Wnukowski’s drumming is phenomenal. His performance is an ultimate force, propelling the music forward with relentless energy and precision. The beats are intricate, the fills explosive, and the transitions effortless, showcasing a drummer who is a craftsman and ultimate powerhouse. Wnukowski’s ability to shift dynamics from pounding, aggressive rhythms to moments of calculated restraint adds layers of complexity. The interplay between his drumming and the rest of the band creates a push-and-pull tension that keeps the listener perpetually engaged.
The album is punctuated by six instrumental interludes, or “Transmissions,” labeled under the enigmatic code “XMSN.” These snippets serve as sonic bridges, connecting the more conventional tracks while adding an experimental edge to the record. They create a sense of flow, turning the album into a cohesive narrative rather than a series of standalone pieces. Thematically, the album grapples with existential tension, loss, and resilience. While the title, tragically, has taken on an unintended poignancy following Steve Albini’s untimely passing, the album remains a celebration of life, creativity, and the power of music. It’s a love letter to Albini’s legacy, Electrical Audio’s ethos, and the noise rock scene that Big’n helped define. Shane Hochstetler’s production expertly captures the rawness of Big’n’s sound without sacrificing clarity. Recorded in Electrical Audio’s iconic Studio A and Studio B, the album has a physicality to it, a sense of space and depth that makes you feel like you’re in the room with the band. The mix allows each element to shine. The guitars are abrasive yet articulate, the bass warm and commanding, and the drums thunderous without overpowering. Akins’ vocals sit perfectly in the mix, cutting through the noise while retaining their emotional rawness. Carl Saff’s mastering adds the finishing touch, ensuring that every detail is audible while preserving the album’s inherent ferocity. With End Comes Too Soon, Big’n has not only reaffirmed their legacy but also pushed the boundaries of what noise rock can be. This is an album that feels timeless, as relevant today as it would have been in the 1990s, and yet distinctly modern in its execution.
It’s a record that demands repeated listens, revealing new layers and subtleties with each spin. From the sheer intensity to the atmospheric interludes that punctuate the album, Big’n has crafted immediate and enduring material worth repeating over and over again. End Comes Too Soon is a glorious return of Big’n, a ferocious and unrelenting album that captures the essence of their sound while pushing it to new heights. It vividly showcases their artistry, resilience, and enduring relevance in a genre they helped define. Whether you’re a longtime fan or new to the world of noise rock, this album is essential listening. It’s a visceral, cathartic experience that reminds us that music can confront, challenge, and ultimately transform. Big’n might have been away for nearly three decades, but with End Comes Too Soon, they’ve proven that their ferocity, creativity, and relevance remain undimmed. This is noise rock at its finest, raw, powerful, and utterly unforgettable. Head To Computer Students for more information about ordering this gem on vinyl.
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