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Album Reviews -- N
Nap Attack! – Choose
Your Own Adventure EP
The
National Eye – the Meter Glows
The Natural
Dreamers -- Self-titled
N.E.R.D. - In Search
Of…
New Black – Self-Titled
New Blind Nationals
-- Bury the Pattern
New End Original - Thriller
New Order - Get Ready
Nigel -- Nigel
Nightfist – The
Epic
No. 2 -- What Does Good
Luck Bring?
No Doubt – Rock Steady
NOFX - 45 or 46 Songs
That Weren't Good Enough to Go on Our Other Records
NOFX/Rancid – BYO
Split Series Vol. III
Noise Ratchet –
EP
Noise Ratchet – Till
We Have Faces
No Knife - Riot For Romance!
Normal Like
You -- The Worst of Many Flaws
No Use For A Name -
Hard Rock Bottom
No Use For A Name - Live
in a Dive
The Now - CD EP
Number
One Fan – Compromise
Nap Attack! – Choose
Your Own Adventure EP
Mono Syllabic
In a steel cage match between California instrumental math
rock trio Nap Attack! and other national bands of the same ilk (Six Parts Seven,
Volta Do Mar, Pele, Roots Of Orchis, etc.) I’m guessing they have as good
a chance as any of walking away with the title. Unfortunately, it seems like
they best they could expect from their “spoils of war” are some jaded
hipsters with their arms crossed peering over their glasses at them and maybe
nodding in approval, or to become a backdrop for an NPR radio program. Don’t
get me wrong, it’s likely that Nap Attack! are a little better than some
at what they do. On each of the tracks here, melodies and rhythms weave in and
out of each other to form an intricate and technical aural kaleidoscope. Unfortunately,
I’m no Berklee grad. so I’m not really qualified to judge their prowess.
But I’ve heard enough bands that sound like this one to know that while
these dudes may be good, but there’s probably not anything here that is
gonna really surprise you.
-Tim Anderl
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The National Eye – The
Meter Glows
In Music We Trust
 Remember
the kids in college who seemed like they were changing their major every five
minutes? It’s safe to say the members of National Eye fell into that category
if they ever attended university. It’s usually better to be diverse than
humdrum, but the way Meter Glows jumps all over the gets to be unnerving.
It’s not just the tempo and the style of each track leading into another – it’s
down to the lyrics, creepiness factor, and even the singer’s voice – almost
as though he’s trying to channel one accomplished vocalist after another
and deciding which he likes best. The few keepers on the album, like “Spies” and “Husk & Kettle,” might
be a promise that these guys can probably make a better album next time around,
once they decide where they want to go with their sound.
-Brandy Voiles
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The Natural Dreamers
-- Self-titled
Frenetic Records 2004
“First thought, best thought” was the editorial
motto of the late Allen Ginsberg. It requires that your first thoughts/impressions
of things be incredibly accurate. Many of us are not that gifted. On first listen
this self-titled composition was pegged as a sullen, sulky, instrumental composition
of melodrama. After listening two more times, the only descriptor that still
holds true is melodrama. The Natural Dreamers consist of members of Deerhoof,
Dilute and Gorge Trio. If you are a fan of any of the bands, do not count on
one particular sound to dominate. It’s quite different. It is not the kind
of album that grabs you at first. In fact, three listens would be advised. The
lack of vocals does afford you the opportunity to really think about the music
as well as any emotional attachment that you may make to it. Summation: First
thought--- Blah. Further thought— there are some interesting experiments
going on. It is worth a listen.
-André O. Hoilette
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N.E.R.D. - In Search
Of…
Virgin
 I
was walking in downtown Seattle when a disheveled man strolled out
into traffic in front of me. Drivers slammed on their brakes, the
man turned 90 degrees to scream at them, and then he turned 90 more
to look at me. Immediately he was in my face and shaking me violently,
fuming "This is how shit's going to be from now on, Mr. President!"
When I didn't fight back, he said he loved me, and I could do nothing
but reciprocate. With that, he placed an alcohol-stinking kiss on
my cheek and moved on to yell at someone else. In Search Of…
is sort of like my disgruntled aggressor: menacing one moment, comforting
the next, and quickly off to another place. Hiphop/pop superproducers
the Neptunes are running the show that is N.E.R.D., and while most
Neptunes hits make even the meanest bastards smile (e.g. N'Sync's
"Girlfriend" remix and Jay-Z's "I Just Wanna Love
U"), In Search Of… is a darker move. It's a little political
(the successful "Lapdance" and the weaker "Bobby
James), a lot sexy/nasty ("Tape You"), and even lovable
at a few points ("Run to the Sun"), but it can't stay
away from threatening rants ("Rock Star"). The sounds
switch up nicely from soulful to fully rocking, and they come often
from live instruments rather than computers (on the recently released
U.S. version, anyway). It's good to see some new school pop icons
using their leverage to push a massive audience toward some new
ideas. A toast to the death of teen pop and the survival of the
Neptunes.
-Jeff Locher
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New
Black – Self-Titled
Thick Records
 When
you hear the sounds of New Black’s latest CD, you won’t be able
to sit still. The darkly contagious, though strangely upbeat rhythm of the
songs will have your head bobbing and your feet tapping thirty seconds into “Put
it to Bed,” the first song on the disc. New Black offers mostly female-fronted
new-wave tinged, pop-punk for that will resonate in your soul (strangely even
in this warmer weather) – I’ve found it’s a great way to
get myself in the mood for the sunshine without resorting to the mind-numbing
music of some random pop princess.
-Megan Broadstock
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New Blind Nationals
-- Bury the Pattern
Sparkler Records
Hailed by Sparkler Records as “Wisconsin’s
best-kept Noise-Pop secret,” New Blind Nationals indeed straddles
the brink between catchy pop rhythms and the intensity of young
child without Ritalin. The marriage between noise and pop seems
destined for divorce. There is little to be said. The sounds don’t
mesh well, coming off at times as merely spasmodic, at others candy-coated
and unoriginal. The album sounds like at least 4 different bands
made it instead of one. The band seems confused. Part of this could
be from the constant turnover in members, especially drummers.
Maybe there is a reason they’ve been banned from Racine three
times.
-Mike Keller
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New
End Original - Thriller
Jade Tree Records
Finally a band with ex members that doesn’t suck.
Featuring members of Texas is the Reason, Far, and Chamberlain,
New End Original’s Thriller is an album that every ascribing
emo kid must own. For
fans of Onelinedrawing you will recognize some of your favorites
on this records. My
personal favorite on this album is “14-41.”
It is an old Onelinedrawing song, but done with the full
band. This is a solid
rock album so buy it.
-Joe Anderl
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New
Order - Get Ready
After seeing the Go-Gos stumble through a recent
television performance it became painfully clear to me that not
all of the musical idols I grew up with are aging gracefully.
So with careful consideration I decided to invest in New Order's
newest release in the hopes that it wouldn't sound dated and forever
doom their twenty-plus year career. On Get Ready, the
dark electronic pop that New Order made famous is as strong as ever
- but what would you expect from a couple of guys who've faced much
worse. From the suicide of Joy Division's Ian Curtis on the
eve of their North American Tour, a menagerie of doomed side projects
(Bernard Sumner's Electronic with ex-Smith Johnny Marr; Peter Hook's
Monaco; and Steven Morris' and Gillian Gilbert's The Other Two),
and the commercial failure of 1993's Republic, these guys prove
that what doesn't kill us makes us rock harder. The first
track, "Crystal" certainly does it's best to recapture
the vintage New Order sound -- Sumner's playful yet strangely self-deprecating
lyrics and genius vocal melodies, Hook's high-end bass melody, the
avalanche guitar sound, steady rhythm and a disco pop production
quality - it is all there. Nearly every track on this album
has a unique quality worthy of praise, but the brief vocal teaming
of Sumner and Billy Corgan on "Turn My Way," and the tension
and trepidation of "Primitive Notion" guitar work are
definite standouts. This album is sure to be a welcome addition
to the collection of Joy Division's cult following and an expert
introduction for newcomers.
-Tim Anderl
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Nigel -- Self-Titled
Silver Girl Records
 Nigel
have mastered the art of the hook. The simplicity and quirkiness inherent in
this record, the stuff that almost threatens to destroy it, work simply because
Nigel know how to write a damned catchy song. That's a hard task when you're
working with sparse drums and singular piano melodies.
Take Elliot Smith's piano work and strip it down.
Take Carrie Brownstein's guitar work and strip that too. Then throw
in an extremely low-fi version of the Aluminum Group. Add a little
Tortoise or Tristeza to taste, and you've got Nigel. Involved but
not involved. Complex but simple. It's a big dichotomy, and it's
hard to really pin down what Nigel are doing. All you hear are
elementary instrumental parts, child-like vocals, quirk and sass
galore. Honestly, by every musical rule, this record should not
work. But.it does. It makes you bob your head from side to side
and want to sing along. It makes you smile and giggle. And sometimes,
it really makes you feel.
There's an unmistakable sense of longing on this
record, one that seems to slam hard against its offbeat nature.
Nigel is laughing in the face of desperation, facing sadness with
a smirk. Maybe that's what makes this record so endearing: Nigel
pull off a whole series of things that we all secretly wish we
could pull off. Who doesn't want to be simple yet interesting?
Quirky yet thought-provoking? Who doesn't want to giggle at longing?
And who doesn't want to baffle the world by working
with the rawest of elements and still managing to be amazing?
-Mollie Wells
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Nightfist – The
Epic
The Temporary Residence Limited
Have you ever heard the Trans-Siberian Orchestra play an instrumental
version of Survivor’s “Eye Of The Tiger?” I
think that I just did…
-Tim Anderl
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No. 2 --
What Does Good Luck Bring?
In Music We Trust
Neil Gust could easily be that sketchy loner who hangs out at the
bar after a show waiting to bend the ear of the next poor soul's
about his brushes with rock stardom. Sure he's the other singer
guy from Heatmiser. Sure Heatmiser was passed over by every label
from Rodeo Drive to Abbey Lane when every other pack of Hessians
in the Pacific Northwest was pissing away the majors' advances on
junk and shotguns. Sure when Heatmiser did finally get signed by
Virgin in 1996, Elliott Smith split after one record causing the
label to lose interest.
But that's not keeping him down. No siree.
In fact there isn't much difference between Gust and
Smith on paper. Both attended little old Hampshire College in rural
Massachusetts in the early '90s. They met there, started Heatmiser
and followed the yellow brick road out to the Pacific Northwest.
In fact, Gust wasn't beatdown nearly as badly with the ugly stick
as Smith. And Gust is taller, I think. Take that Mr. Oscar-nominated,
critically acclaimed, pop phenomena.
Now is probably a bad time to mention that Sam Coomes,
Heatmiser's bass player, is that guy from Quasi. Isn' it?
So should I bother trying to review No. 2's second
release What Does Good Luck Bring? without the expectations that
Gust's past begs for? Would if make difference if you knew that
No. 2's drummer Paul Pulvirenti's last gig was backing up Mr. Smith
and that on bass you have none other than Jim Talstra of Minus 5?
So, despite everything this is a pretty good record.
"Traveling" has a nice riff in A and a couple tight blues
licks. And the lyrics are even rhyme! Like this dandy little couplet,
"There´s no such thing as a perfect match/For everyone
how's unattached/I don't even want a perfect fit/But your target's
so far out it can't be hit."
There are a couple other interesting songs on this
record, just take "8:45 a.m." Why that's an alt-country
stab in the dark if I've ever heard one and with a 3/3 beat. Next
stop: Grand Old Opry!
Seriously though (no really), if you were jonesin'
(and I do mean jonesin', dude) for another Heatmiser record, you're
in luck. Or, better yet, if you're tired of the George Martin kick
Mr. Smith has been on as of late and you don't pay very close attention
to lyrics then What Does Good Luck Bring? is not to be missed. If
not just tip your bartender and go home, because you've heard this
story before.
-Paul Bugala
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No
Doubt – Rock Steady
Interscope Records
After the first three tracks off of the latest
offering from No Doubt, titled Rock Steady (I don’t count
track 1, cause it’s only an “Intro”), I’m thinking,”….Hip?….Hip-Hop?….Hip-Hop
Anonymous?!” Ever since
the band lured us into their clutches with 1995’s Ska-Pop album
“Tragic Kingdom,” the only constant about No Doubt has been their
line-up, which consists of singer, Gwen Stefani, and….uhhh……those
guys in the band with Gwen Stefani. With a handful of producers (Nellee Hooper, Steely & Clevie,
Sly & Robby, Ric Ocasek, and Prince) and some momentum carried
over from Gwen’s guest appearances on Moby’s “South Side,” and Eve’s
“Let Me Blow Ya Mind,” No Doubt decided to cash in on their new
found club credence. The
only thing is, through all of the 80’s electro/synth-pop, dancehall
reggae, and spliffy rump-shakers, it’s hard to tell where No Doubt
starts and the producers end. The first three “real” tracks are pretty much strait out bounce
heavy hip-hop tunes, that aren’t really too bad. “Hella Good” is also a co-write with The Neptunes.
You really have to wait until track 5, “Underneath it all,”
to get that No Doubt flavor in your mouth.
This is the first track where they dabble in some ska guitar
riffs, and horns. And
then it’s right back into a funky pop thrill of a song called, “Detective,”
which is not one of my favorites on the album only because it reminds
of that song “Cruel Summer,” which in turn reminds of “The Karate
Kid." Cars frontman,
Ric Ocasek, lends his production sensibilities to the tracks “Don’t
Let Me Down,” and “Platinum Blonde Life,” both of which come this
close to sounding like “You Might Think”.
It’s nice to see that Mr. Ocasek hasn’t moved a millimeter
since the days of The Breakfast Club.
Don’t get me wrong, I love The Cars, and the Breakfast Club,
but….you know. “Start
The Fire” is another little dancehall-tinged smoothie found on this
CD, co-produced by Steely & Clevie and No Doubt. It doesn’t have those heavy ska guitar riffs like on “Underneath,”
but there is a nice Jamaican feel to it.
My favorite track off of the CD is a little music-box ballad
called “Running.” It’s
sappy and fits Gwen like a glove.
Unfortunately, Gwen reverts back to her cloying self pity
on “In My Head,” but fortunately it’s only for one song.
Another clunker is the collaboration with ”The Artist Formerly
Known As,” is ”Waiting Room,” which sounds like a Purple Rain
outtake. Move on.
The album’s title track “Rock Steady” really shows off Hooper’s
understanding and productional aesthetic of dub, which makes this
track come off really smoove.
All in all, I’d have to say this album isn’t entirely bad.
While I have my own personal opinions and politics about
the whole thing, it actually sounds like No Doubt knows what they’re
flirtatiously fooling with.
It’s a must have for hard-core Gwen fans and/or those people
who feel a need to shake a bump on their groove thang.
But, with a price tag bigger than the Gross National Product
of Rungafooboo, I’d tell everyone else to either wait until it hits
the used bin, or borrow it from a friend (like I did).
Use that extra dough to buy you a pack of Kools, and Fo-dee,
cause y’all gonna need some shades to see what I’m flossin, dig.
-Doran
Dalton
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NOFX - 45 or 46 Songs
That Weren't Good Enough to Go on Our Other Records
Fat Wreck Chords
 If
you've spent any time collecting hard-to-find NOFX EPs and 7"
records during the past 10 years or so, consider that time wasted.
You can now find most of those songs on the Internet, or even easier,
you can buy this thorough double-CD collection for the price of
one LP. B-sides, covers, songs from compilations, early versions
of favorites from recent LPs… They're all here with one new
song, "Pimps and Hookers." Fat Mike's liner notes provide
the songs' insignificantly hilarious back-stories, and the second
disc contains most of the songs from the Fuck the Kids and Surfer
7"s. If you had enough of NOFX in the 90s, obviously you shouldn't
bother with this. But if you appreciate the accomplished punk musicianship,
the irony, and the political commentary that go into NOFX albums,
these leftovers are a goldmine.
-Jeff Locher
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NOFX/Rancid
– BYO Split Series Vol. III
BYO Records
In 1985 Heavyweight Tag-Team history was made.
The scene, Wrestlemania I, at Madison Square Garden.
The team: Hulk
Hogan and Mr. T. I
was 8 years old and I remember being so excited that I walked around
in my Hulkamaniac PJ’s with my chest sticking out, huffing and puffing,
wind-milling one of my 24” pythons, and bringing a cupped hand to
my ear at every corner of my room.
Fast forward to 2002.
Heavyweight Tag-Team history is once again in the making.
The scene: BYO
records “scene documenting” split series, #3.
The team: NOFX
and Rancid. Now I’m
24 years old and while I’m just excited about this as I was about
the wrestling, my enthusiastic “Blossom” dance is limited only because
I’m trying not to spill my beer as I slap my Doritos stained forearms
together with glee. NOFX
covering six Rancid songs, and Rancid covering six NOFX songs, what
a concept!! With producer
Ryan Greene in their corner, NOFX comes charging out and sets the
tone for this match with a fist-pumping rendition of “I’m The One”
from Rancid’s “Let’s GO.”
Fat Mike and crew do a great job of having fun with this
song, which is evident in the Fat Albert like “HEY, HEY, HEY’s”.
This is followed up by “Olympia, WA”, and a pogoing version
of “Tenderloin”. Fat Mike gives a little salute to Big Brother Stern when he
ends “Antennas” with a line from “Sink with California”. I’m glad that NOFX didn’t shy away from the ska-heavy album
“Life Won’t Wait.” Mike
represents well on the track “Corozon De Oro,” when he opens with
a cracked-voice impersonation of Tim Armstrong.
Every good heavyweight has a special move, and NOFX ends
their set with a move that they’ve shelved in the past.
A ska version of the song “Radio”, with El Hefe taking the
vocal helm. Fat Mike
backs him up with some snotty “Radio, radio, radios.”
It’s funny and cool all at the same time.
And the tag is made.
Rancid comes out swinging with some serious low-end blows,
and Tim belts out a passionate “LET’S GO,” as if he’s leading an
army into battle. Tim
lowers his voice a bit as he snarls his way through this furious
version of “Moron Bros.” Followed
quickly by another barrage, Matt Freeman’s bass riffs beat you like
a drunk step-father, leading into Lars’ husky crooning on “Stickin
in my Eye.” Next up
in a most passionate and desperate effort Tim slurs through the
classic NOFX tune, “Bob,” putting his soul into it, and making it
his own. For the track,
“Don’t call me white,” Matt Freeman squares off and takes the lead
on vocals. His growling voice combined with his bludgeoning bass lines
will definitely leave you with some internal bleeding. While Lars once again takes the lead on “Brews,” all three
of the non-percussion guys seem to be in a race against each other
for, “who can sing the chorus the fastest.”
And finally to finish up the blood bath, Rancid charges up
the meanness with a harsh rendition of “Vanilla Sex.”
So far this tag-team is undefeated and will remain so if
they continue in this fashion.
While the bands don’t do anything new, they do put a new
twist on some old favorites.
It’s a really fun and classic punk rock album. So, remember all my little Punkamaniacs, train hard, take your
vitamins and get this album as soon as possible. Cause I pity da foo that doesn’t have this album.
-Doran
Dalton
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Noise
Ratchet – EP
The Militia Group
 I
stumbled upon this band at the Cornerstone Festival last year, and
was pretty impressed with them. After the festival, I delved into
Noise Ratchet’s debut album, Till We Have Faces.
The album was good, but I have to admit, I was a little disappointed.
It was missing that spark of their live show. So I kind of forgot
about the band. Well, until now. This EP shows how within a year
of touring the maturity, creativity and sound of a band can really
progress. After hearing the first track, “When Losing Ends,”
I was reminded of the time I'd seen the band play on that hot summer
day at Cornerstone. The entire EP is filled with hard-hitting, powerful
rock, riddled with honest emotion (but make no mistake, this band
is not "emo"). In this release, you get to see more than
just one side of the band. Noisy, chaotic rock with a contrast of
shadowing, melodic guitar riffs. This EP shows what Noise Ratchet
is really all about. Pure, honest, loud rock. After the past year
of extensive touring with bands like Piebald and Hot Rod Circuit,
Noise Ratchet has caught the attention of some major labels. After
a recent signing to American Recordings, they're heading back to
the studio. Their next full length is expected to come out sometime
in early 2004.
-Mike Barajas
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Noise
Ratchet – Till We Have Faces
The Militia Group
While milling through a chain bookstore during
March, I picked up the newest issue of a popular music magazine.
While flipping through the pages something caught my eye.
The sub-title read, “Up to the minute Emo fashion” and the
page-long article was sprinkled with pictures of 14 to 16-year-olds
carrying backpacks covered with Alkaline Trio patches, Thursday
buttons, etc. This
was no real surprise to me as I’d just come from a chain record
store where they were playing the Dashboard Confessional video for
“Screaming Infidelities.”
No matter how much I’d like to deny it, emo is the new ska.
With the pump primed and ready, bands like Jimmy Eat World,
Saves The Day, and….Noise Ratchet are bound to rule the airwaves
in 2002. For the most
part, Noise Ratchet concocts a formula of aggressive, honest and
dynamic guitar driven “emo” in the vein of Thursday and Jimmy Eat
World. But, they may
be a little better prepared for MTV due to the mature baritone of
singer Joel Hossler, who’s vocals alternate with ease between a
Juliana Theory-ish intro’s and POD-inspired chorus on “Away From
Me.” “For You I’ll
Be Forgetting Me” builds to a chorus of Hosler crooning, “Happy
birthday to me,” that sounds strangely like Incubus’ “Wish You Were
Here.” That said, Noise
Ratchet will be an easy target for elitist “haters” willing to write
off anything that sounds remotely mainstream.
But, those of us who enjoy the pop-side of emo will have
to weather the popular media’s battering ram and be content to share
our new friends with half of the under-18 world population.
-Tim
Anderl
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No Knife - Riot
For Romance!
Better Looking Records
 Every
two or three years a record comes along that has you wondering why
a Veteran band who have tirelessly toured and recorded, and have
continued to maintain expertise and momentum haven't been able to
puncture the thin, and indiscriminate boundary between obscurity
and popularity. Every two or three years No Knife puts out a record.
Is it a coincidence that I am having these thoughts again? I think
not. Though Drunk On The Moon and Fire In The City of
Automations were excellent albums, one couldn't help, but wonder
if the boys from No Knife would always be just waiting patiently
for their chance in the spotlight, But, it seems the wait has made
No Knife more comfortable in their own skin and allowed them to
continue to challenge the standards and boundaries of guitar driven
rock. The early album tracks like "Riot For Romance!"
drop an exotic funkiness during the verse that is driven by off-time
beats before settling into a straight-forward double-timed chorus.
"Swinging Lovers" has a classic, and distinctly European
sexy and spontaneous sound - it reminds me of the more fast-paced
tracks on the Cure's Head on The Door or Kiss Me, Kiss
Me. "Feathers and Furs" builds quivering melodies
on top of choppy and vast rhythmic repetition. Mitch Wilson's soothing
baritone slow dances with Tricia Beels' delicious female vocals
over the dense, angular and beautiful instrumentation. Borrowing
a bit of classic pop composition from greats like The Cars and The
Police, the clean ebb and flow of "The Red Bedroom" provides
some of the tightest hooks in pop music you'll hear this year. Every
two or three years I swear that No Knife has released the album
that will earn them the acclaim they deserve. Though, I am not changing
or challenging that contention this year, one can probably count
on No Knife to continue creating artful, and quirky yet sensible
guitar rock regardless of their popularity (or lack there of)….and,
we'll have this discussion again. Luckily, Riot For Romance!
is ambitious enough to keep a spot in my CD player occupied for
the next two to three years.
-Tim Anderl
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Normal Like You
-- The Worst of Many Flaws
The title of this album is a joke. This California 5
piece utterly explodes from the get-go. Besides that, it displays maturity
in its lyrics from the imagery it employs to the attention to detail and
understanding of authentic emotion. Although they sound at times like Creed
or Nickelback (briefly toward the end of the album-it’s mostly the
lead singer), they also remind of early Get Up Kids fused with screamo
overtones and prog-rock guitaring underneath the steady rhythm provided
by drummer Chad Welchoff. John Williams’ vocals are endearing, yet
edgy.
This 5 song EP will resonate with anyone at a crossroads,
and perhaps why I listened to it often over the last month. “Can
I Live?” is an excellent starting track pumping the listener
into a frenzy that lasts throughout the record. “Addicted
to Faith” urges any listener to continue. Only on “My
Intentions” does the album come off a bit short, however
this band has earned one more fan.
-Mike Keller
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No Use For
A Name - Hard Rock Bottom
Fat Wreck Chords
 Okay,
let's do a little word association here. When I say, "pop-punk",
what comes to mind? More often times than not, you'll probably hear
people say, Blink-182 or Sum 41. While these bastardized bands have
permanently tarnished the label of "pop-punk," the latest
offering from No Use For a Name (NUFAN) makes a strong argument
against the whole "pop-punk is evil" banner. Hard Rock
Bottom is pop-punk that doesn't have to revert to dick and fart
jokes in order to hold the attention of its audience. It has the
songs about girls, with out the "we met at the swing set"
adolescence. Produced by Fat Wreck veteran, Ryan Greene, the style
is quite familiar, but the elements as a whole are tighter, have
more power, and are more diverse than overdone. In addition to the
machine gun guitars, bubbly bass, and precise drumming, the album
also incorporates an organ, violin, and a cello, all of which fit
nicely as NUFAN treads through more melodic pastures. NUFAN seems
to have also closed that gap between the lead and backing vocals,
both coming together to create some sweet harmonies. Speaking of
sweet vocals, Karina Denike (Dance Hall Crashers), lends her siren
voice as she takes the lead on a cover of Sinead O'Conner's, "This
is a Rebel Song." It's a sweet song, but ends up being the
runt of the litter when compared to the other 12 tracks. There is
also a remake of the song "Let Me Down," that first appeared
on the Fat Wreck Chords compilation, Live Fat, Die Young.
This time around the first half of the song is just an acoustic
guitar, and Tony, before it explodes into a song that you'll find
yourself pogoing to. It's cool, but I say they should've either
left us to mellowly bob our heads, or pogo like it's 1999. Track
12, "Insecurity Alert," is nostalgic and brings a sound
in the vein of Leche Con Carne. Older fans of NUFAN might
be a little put off by the wider range of sounds, more so than More
Betterness. However, if you really dug More Betterness,
then you'll probably be equally or more impressed with how Rock
Hard Bottom turned out. So, put back on your pants and jacket,
and go grab this album that's all killer, and no filler.
-Doran Dalton
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No Use For A Name
- Live in a Dive
I'm glad that Fat Wreck Chords sends me promo
copies of their new releases for review. The stuff they put out
usually tends to sell well to the kids who have lots of money and
really bad taste in music. That means that I'll be able to get $5
trade in when I take this to the record store to trade it for something
good. The good thing about these types of records is that I can
usually laugh at how stupid they are, but No Use For A Name is so
boring and redundant I can't even make fun of it. It really blows
my mind how ridiculous this is. If I did need something to laugh
at I'd have to put on that new Saves The Day record. Oh wait, I
already traded that in. Guess what I'll be trading in next?
-Jamie "Rocket Arm" Maloney
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The Now - CD EP
I was drawn to this one because of the layout
and the song titles. The design is pretty slick and the song titles
are some of the coolest that I've seen in a while. "Come on,
all the girls I know throw up," and "Is that me, no it's
the other guy with twenty arms." Hilarious! Musically, The
Now plays that screamo/metal stuff that seems to be popular right
now. This isn't exactly ground breaking but still some rockin stuff
here. I think I would like this even more if I had the chance to
see The Now play sometime. There are plenty of spazzy parts on here
that I could totally see some tight pants wearin' dudes wigging
out to. "Thrill fuckers (you broke my heart but I kinda got
off to it)". Christ! Those are some rad song titles!
-Jamie "Rocket Arm" Maloney
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Number One Fan – Compromise
Pat’s Record Company
 I
think it was J.D. Considine who once penned a three-letter review for his Musician
Magazine column. GTR, a band which contained Steve Hackett of Genesis
fame, had the distinction of earning this review, which read simply: “SHT.” Another
of his standout reviews was for Nelson's Because We Can. Considine
wrote, "Still, I wish they wouldn't." I was ready to try my own hand
at some Considine-like wordplay when I read, “That’s where veteran
rock manager and Mosaid Media Group partner Pat Magnarella (Goo Goo Dolls,
The All-American Rejects) found Number One Fan,” in the press material.
I mentally pieced together my response; it would read something like “Number
Two Turd – Compost-ize.” I was patting myself on the back before
even spinning the album. But, always up for a challenge, I decided to test
my ears’ endurance by throwing this joint on. And to my surprise, I had
nearly instantly mentally rewritten this review. Number One Fan shows the poise
and precision of a seasoned group of indie guitar rock veterans, and singer
Nicholas Zeimann has a set of pipes that surpasses most contemporaries (makes
even Further Seems Forever-era Chris Carraba look like SHT). From beginning
to end, the album balances its songcraft between hooks that will appeal to
mainstream rock fans (think Counting Crows or J.E.W.) and arrangements that
are bombast, ambitious and indie-friendly. Number One Fan = FCKNG GR8.
-Tim Anderl
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