There's a moment near the end of this self-titled LP when the announcer at a Notekillers show introduces the band. He's answered by a cry of unruly glee -- from what sounds like about ten people.

So went Notekillers' brief existence, from 1977 to 1981. I want the idea of the true artist laboring in obscurity to be a myth; if someone has the brilliance and tenacity to create real art, then they should find a way to get it to me. For the instrumental no-wave trio of David First (guitar), Stephen Bilenky (bass) and Barry Halkin (drums), it's taken a mere two and a half decades for that to happen. Had Thurston Moore not cited these guys as an influence, this collection of odd recordings and live performances never would have emerged. It would've been too bad for me -- too bad for all of us -- if that had been the case.

Notekillers play a blend of Sex Pistols-like punk, jazz, blues and funk, with other influences ranging as far afield as snake dance. It's propulsive, wild-eyed instrumental noise pop. It's also quite dense; this is the kind of record that demands to be listened to. Several times I looked at back of the jewel case to make sure I was really only listening to three musicians; the level of sonic density the band achieves with its minimalist approach is astonishing. The interplay between guitar and bass sometimes feels like a tug-of-war -- neither instrument is content with a single role, and each one takes the lead at different times, only to cede it a few moments later.

The collection gets off to a smashing start with "The Zipper", the song that first caught Thurston Moore's attention. Its pace never abates as it rakes over its cascading melody again and again, the whole slew barely keeping from flying apart. "Juggernauts" is methodical enough to compare with Tortoise, while "Spaceland Chant" changes pace in the middle of the album, to wonderful effect: a beautiful guitar theme tinkles over the album's softest bass line, and then the bass's voice builds, takes over, and yields again. "Happy Endings"' raw strumming probably comes closest to a modern noise-pop aesthetic -- it's primitive but prophetic stuff.

Taken from a series of spur-of-the-moment recordings, Notekillers offers no production values to speak of. It creates a one-off feel that's actually engaging, but I'd love to hear some of this material with packaging to match the musicianship and song structure. The band has started to play shows again around Pennsylvania and New Jersey; their next stop should be a recording studio.