4 9 21 30

Named after a reference line from the film "The Karate Kid," SWEEP THE LEG JOHNNY proved to be a musical ninja in its own right with its unique mix of math rock, indie rock, post-rock, jazz, art punk and noise. Formed by alto saxophonist / vocalist Steve Sostak and guitarist Chris Daly when they were students at Indiana's Notre Dame University near South Bend, the duo started out as Check Engine in 1993 and then started their second band soon thereafter in 1994 before relocating to Chicago after graduation. There they met bassist Matt Alicea and released a couple singles before unleashing their debut 4.9.21.30 on Divot Records in 1997. The band existed until 2002 and put out four albums, each with its own distinct flavors and stylistic approaches.

This debut followed in the spirit of nerdy math rock inspired art punk acts like NoMeansNo, Slint and Minutemen with a combination of King Crimson inspired dissonant chord progressions, complex zigzagging compositions, forceful jackhammering punk angst and the oddball addition of Flipper inspired saxophone accompaniments. A tad of alternative heavy rock also reminds a bit of Jane's Addiction especially in some of the vocal parts. Navigating a labyrinthine series of eight tracks in its 43 minute run, 4.9.21.30 dished out a contrasting mix of fast tempo brashness along with more sensual moments of placidity. The album's opener "Shower Scene" evokes aspects of post-rock although the knotty math rock riffs dominate the soundscape.

The main gist of 4.9.21.30 is for the bass groove to provide a basic melody while the twisted chord complexities weave their way around it. Motifs change at the drop of a pin but recurring cadences offer a stabilizing force while the guitar and drumming techniques offer unique fills often employing a series of jazzy time signature moves to craft super tight yet freeform musical expressions. Vocals range from abrasive punk shouting to more relaxed subdued singing. Distortion is on the noisy side and the clamoring of the guitars offers a jarring [%*!#] it all demeanor amplified by free jazz saxophone blasts and abrupt hairpin turns. Together these attributes showcased an extremely disciplined technical wizardry coupled with the freewheeling explosiveness of anarcho-punk offset by slower moments of post-rock with a jazzy touch. Add a touch of emo fueled vocal angst and you have a wild ride!

Jagged dissonant guitar textures with saxophone smoothness sally forth in irreverent processions finding noisy outbursts pacified by cool-down periods and vocal harmony call and response sessions. The album delivers a steady yet agitating roller coaster ride of bantering mathy art punk ceding to more standard uniformity where the independent nature of the instrumentation suddenly plays together in unison. Abrasive tones and tumultuous timbres plunder the senses while frenetic chaos lurks around every musical measure. A triumph of rhythmic mystery and organized dystopia, SWEET THE LEG JOHNNY emerged as a veritable powerhouse of punk-infused art prog that melded its influences together so well that it's impossible to distinguish any particular passage as attributed to one source.

The band was notable for its ability to change things up significantly from album to album as members jumped ship and others joined the ranks. Bassist Matt Alicea would leave after this debut and replaced by John Brady for the band's second release "Tomorrow We Will Run Faster" which focused more on slower progressive post-rock elements more similar to "Godspeed You! Black Emperor" than the NoMeansNo meets Flipper and Minutemen approach of this debut. Overall an impressive beginning for a wildly unhinged band that was notable for its prolific live performances that kept the world of punk rock relevant in the alternative experimental 90s and beyond. I really love how the band crafted a huge arsenal of interesting experimental approaches on this debut. An amazingly strong piece of proggy art punk.