Tired Of Tomorrow
I will be quite honest, I don’t really enjoy much of the shoegazer scene or how it has become a word used quite often for any bands that are letting their guitars razzle dazzle. It seems now if you play two guitar chords over and over with a slight amount of distortion or effects, well congrats! You did it! Or monotonously playing the same riff over and over with those airy vocals and boom, the trance is real and everyone falls head over heels for you. While not being a total fan of the genre, there have been albums that I have listened to and thoroughly enjoyed — I am looking directly at you Loveless (My Bloody Valentine, 1991). After being told by nine different friends who somehow had the new Nothing album, Tired Of Tomorrow, I did and I am astounded, I finally found the 90s rock rebirth record of the decade.
The way Nothing utilize both loud and soft guitar textures to pump droning instrumentals out give light on their dynamic songwriting. They have songs that are distinctly different but at the same time, sound cohesive and connected to what Nothing wanted to channel with Tired Of Tomorrow. The record is the most polished in their catalogue, being able to finally have the vocals be their own instrument, lightly decorating the tunes with their gravelly, airy appeal. This allows for the guitars and rhythm section to feel like a pulse, hammering two chords together and having the lead instead be Nicky Palermo’s beautiful vocal tones. It’s seen on a track like “Nineteen Ninety Heaven,” where the drums are bellowing out the pace for the reflective guitars to softly gnaw at; being transcendental and pulling the listener away from the depth of the world.
“Curse Of The Sun” plays out in an opposite fashion in comparison to 199Heaven, relying on buzzing guitar features to create the forceful tension between the rhythm section and the distorted riffs. The vocals tap dance on the surface of the sound, being only powerful enough to cut through portions of the structure at a time. But the charm of “Curse Of The Sun” and personal favorite, “Our Plague” is not the repetitive drones, but the interesting way Nothing weave both loud and quiet dynamics together. The latter track is pushed into action by the driving drum pattern, turning from a buttery croon into a feedback glistening, gnashing tune. It’s beautiful the band can craft such vivid explorations of their sound while staying perfectly true to themselves. “Vertigo Flowers” is an upbeat, pop structured song that is hard to pass over when it comes on. It’s a bit lighthearted in contrast to the rest of the record, still, Palermo toys with the idea of existence and where he belongs.
Palermo’s dark posture within Tired Of Tomorrow helps keep the record fresh, being the villain to his own story. “Eaten By Worms” could very well be his own eulogy playing above him as he is dormant, waiting to scratch at the earth and be free. “ACD (Abcessive Compulsive Disorder)” is an album highlight, with grooves being simple, Palermo’s ambitious delivery capturing the whole tune in a shimmering light. “I always knew, I would eventually hurt you,” Palermo squeezes out. It’s a song that audibly depicts the feeling of sinking further into the couch as depression sulks and eats away the rest of your relationships in the world. Here we are again and there is no fucking cure but Nothing’s Tired Of Tomorrow helps alleviate that; just by being present and sonically gliding over your head. It’s like a cloud of music that comforts as much as it rallies against the idea of personal progress.
With Tired Of Tomorrow, Nothing step forward and jump higher than any other band trying to adapt to this style of sound to their music. That’s the best thing about Nothing, they didn’t have much to change. Instead, they will make the scene adapt to them. (Sean Gonzalez)