Big Nothing - Big Nothing

 

I adored Big Nothing's debut album, Chris, still do. It featured heavily in our Best Albums Of 2019. So I have no idea how I missed the follow up, 2022's Dog Hours. Maybe it is a label thing. We have never had that great a connection with Lame-O, I've no idea why.

With listening to so much stuff, the label connection can be vital. There are great labels such as Dandy Boy and Meritorio who keep you informed regularly. They know that you are not going to like everything that they release, but when you connect, you really do.

So we reach the band's third album and it is a cracker. It feels a little more mainstream than Chris and is wonderfully big chorus led. The Replacements connection seems even less so, in its place big Pop Rock songs that Jangle and you can't stop yourself singing along.

Now seemingly down to a trio, the album does seem to have a bigger Rock sound, the arrangements are just as big and Matt Quinn's pipes remain in fine working order. The band still flirt with the likes of Americana and Indie, but is the Jangle that stands out most.

There is also a secret vocal weapon. Bass Player takes the lead on two songs . Crusin' is a little more 90s Rock, but her sugar sweet vocal takes it into much more. Stumble is more restrained, but built on a killer riff and stands up with the likes of Fortitude Valley and adds a splendid Twang.

The band's third album feels a bit more commercial, a little more Pop Rock, but it lights up that genre. Beautifully performed and arranged, this is a release that hits home, simply because it is so damn catchy. Your feet won't stop tapping.

You can listen to and buy the album here. It is available on Vinyl and as a download.

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I Don't Hear A Single Albums Of The Year 2019 : 51 - 60

It's been difficult to get these choices down to 100. I'm also not a believer in saying one album is better than another. Most of the time you are comparing Apples To Oranges. I'm not a List person, I just think what's the point.

However, for the last couple of years I have compiled Best Of 2019, normally I just said what my favourite album of the year is. I've done it again, because these posts seem so popular and the aim of this Blog is to get exposure (and Sales) for the artists.

There is no meaning or judgement on an album that is Number 1, Number 100 or not on the list. Anything that I review on here, mention on Social Media or play on the Radio Show is as highly recommended.

I would also add that the Top 100 includes albums available as Download Only. To suggest that they are anything less than equal to a Physical release is patently nonsense and omits many wonderful albums.

I will compile a Top 20 of Reissues and Compilations combined after all this is complete. For each album, I've posted a song from it and a link to the review, where you can find further details on how to listen or buy the album.



51 Erk - When Night Meets Day       IDHAS Review








52 Big Nothing - Chris       IDHAS Review









53 Berwanger - Watching A Garden Die       IDHAS Review









54 Cabana Wear - Cabana Wear       IDHAS Review









55 Onesie - Umpteenth       IDHAS Review








56 Mike Adams At His Honest Weight - There Is No Feeling Better      IDHAS Review









57 Matthew Milia - Alone At St. Hugo      IDHAS Review









58 The Warhawks - Never Felt So Good       IDHAS Review








59 The High Strung - Quiet Riots       IDHAS Review







60 Wrinkles - Other Days       IDHAS Review







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Big Nothing - Chris

I love the Big Nothing album, but need to get something off my chest first. I'm so tired of seeing lazy comparisons. The new XTC, the new Nada Surf, the new Jellyfish blah blah blah. Lately, apparently, everyone sounds like The Replacements, except very few do.

Big Nothing have conjured up a fine album, full of big riffs, so why are all the Yank Reviews showering this Mats comparison everywhere. Big Nothing sound nothing remotely like The Replacements. They have a far keener commercial edge.






The Philadelphia Quartet offer up an album that feels very 90's Alt Indie College Rock, but Power Pop seems to be trying to burst out. The Hooks are many and the fact that all four band members rotate the lead vocals adds an unexpected variety.

Liz Parsons comes across as half Shirley Manson, half Rachel Sweet to provide some great Girl Guitar Pop, but the band's versatility easily lends itself to tinges of EMO and IRS era Indie. Autopilot, for instance, jangles like Glasgow in the late 80's.








Can't Stop has an Everything Flows riff, Always Prepared is pure 90's Power Pop Rock, think Matthew Sweet. Real Name is crossover Punk Pop, reminiscent of the better bands of that ilk. Waste My Time is a little REM.

All in all, Chris has far more in comparison with the first couple of Teenage Fanclub albums and I can think of no greater compliment. Mats it isn't! This album is a fine listen, it doesn't let up across all 11 tracks and why should it?







You can listen to and buy the album here.



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