January 27, 2016 | by Bryne Yancey

Anyone who’s visited Gainesville or has even heard of Gainesville knows that it’s been a hotbed for underground punk music for decades now.

There’s not much of a mystique as to why. As a middle-sized, fairly isolated college town in inland north Florida where the only thing cheaper than the rent is maybe the beer, and where wide openness and cheap practice spaces on the outskirts of town encircle downtown and its several venerable venues, well, what the hell else are people supposed to do there when they’re young and full of piss and vinegar?

Gainesville’s punk scene has managed to integrate a lot more musical diversity in recent years, too (though it could always use more gender and racial diversity while we’re at it, but really, what scene couldn’t use that). This isn’t just burly white dudes poorly yelling about how drunk and sad they are anymore, or maybe it was never just that, but that always seemed to be the pervading reputation of “Fest punk” or “Orgcore.” But there’s more textural variety, dexterous musicianship and encouraging creativity than that. The Gainesville sound is a mosaic, rather than a stark, throaty-yelled work of tunnel-visioned minimalism. Edmonton’s new 7-inch No is proof of that.

The most immediately noticeable aspect of Edmonton is the care they take with regards to tone. It almost sounds like an afterthought, like, don’t all bands do that? No, not like this. Notice how “Cut It Out,” premiered below, begins in a wall of feedback before the tight rhythm section kicks in. Then notice how the feedback warmly lingers in the background for the duration of the first verse around that audibly tight rhythm section. Notice especially how great the bass sounds. There’s a certain degree of warmth to the entire proceeding that’s quite appealing. The structure of the song is interesting, too; the brevity of one verse, two choruses and a couple of slick build-ups is an eminently replayable construction.

No is out March 1 via Chisel. Pre-order it here or here.