hannels is the next step in the long journey for Dischord Records musicians. J. Robbins and Darren Zentek. Joined by bass player Janet Morgan, Channels trades in a type of post-punk that somehow holds the course, and keeps fresh the hard-deep rock sound that bands like Helmet eventually popularized on alternative radio during the mid 1990s.

Robbins, of course, also fronted the indie group Burning Airlines and is a recognized producer—and he leads the trio in a fashion similar to that of his former groups. Which means, you get a lot of aggressive and soft indie electric guitar complementing one another, powerful/distorted bass, heavy drums, and potent lyrics. It’s simple and straightforward rock that boasts few flashy effects to distract from the songwriting.

Channels was reportedly brought together through a mutual love for Jesus Lizard and early XTC—two groups that have an obvious effect in their grind and energy, respectively—and a feeling of constant disillusionment with the state of world affairs. The record wasn’t titled Waiting for the Next End of the World merely for the sake of irony; it’s a silent warning towards the imminent threat of world conflict.

Likewise Robbins isn’t trying to be cute when he screams the first words of opener “To the New Mandarins”: “It’s tricky to relax / When bracing for impact / Call it your Patriot Act / The panic room’s in back / With victory on tap / Show ‘em your Patriot Act.”

The seriousness of his lyrics remain an isolated dimension and the music—even though somewhat jagged and post-punk intensified—is upbeat and shoulder nudging, sometimes even with a poppy tambourine rhythm added to the mix. Unlike the pure desolate anger of, say, Rage Against the Machine’s self titled album, Waiting for the Next End of the World has a message but also manages to use dynamics and different musical styles to make its point. That said, there are moments (“Lucky Lamb”) when the Jawbox/Kerosene 454 influence tear through; Zentek’s hits are heavy and his fills technical, J. Robbins voice spikes with the throaty gall of Erik Denno and Jim Wall, and Morgan traces the bottom rung of the melody with a plastic pick in hand. Somehow, for Zentek and Robbins, the journey of two decades has left them in a place similar to where they started. Lucky for everyone else.