Return to form for these Californians…
The last couple of years has seen
something of resurgence from the FatWreck Chords crew. Bands like Strung Out have released records that have reaffirmed their position of popularity
within a scene that can all too easily forget its roots, and with The Feel Good Record Of The Year, No Use For A Name are here to remind everyone that they’ve got a little something left
in the tank as well.
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Fast paced opener “Biggest Lie”
recalls the break neck speeds of the band’s earlier work, but don’t
think for a minute that there’s something nostalgic or outdated about
this approach. If anything the catchy melodies and shredding guitars
sound just as relevant today as they did ten years ago. “I Want To
Be Wrong” settles into the mid-tempo groove that No Use utilize
so well, the chorus being one of the best things the band has written
in recent memory.
“Yours To Destroy” is a perfect
example of what a good pop punk song should sound like, as the harmonies
are spot on and the guitars work well together… perfect! Picking up
the pace of the album’s first tune is “Under The Garden”, a song
that switches from aggressive to introspective more than a few times
within its three minute allocation. The first real surprise of The Feel
Good Record Of The Year is “Sleeping Between Trucks”, an acoustic
ballad that isn’t the worst thing I’ve ever heard, however it well
and truly kills the momentum that the band had successfully built to
this point.
The bouncing “Domino” is a
solid tune that leads into the album’s title track nicely, both tracks
showing the diversity in No Use For A Name’s songwriting, while
the rock n roll influenced “The Trumpet Player” goes to show just
how much this band has matured over the years. “Night Of The Living
Living” is bound to be the soundtrack to many a circle pit but once
again another uninspired acoustic number offsets the pace. I’m all
for bands trying something different but the inclusion of these slower
numbers does not do the record any favours.
is my personal favourite “Pacific Standard Time”, a kicks into top
gear after a particularly epic introduction, a stark contrast to the
pop heavy “The Dregs Of Sobriety”, which only leaves “Kill The
Rich” and “Take It Home” to see the record out, the former bringing
the dull, acoustic tally to three.
The Feel Good Record Of The
Year is a fantastic album, however it would be far better if the
trio of ballads were omitted. Apart from that, No Use For A Name
has once again shown why they are still at the forefront of the modern
punk scene.
Of The Year