Nothing - The Great Dismal (October 30, 2020; Relapse Records) Album

band's fourth record out Halloween weekend



first single "Say Less"

produced by Will Yip with a feature from Alex G

1.A Fabricated Life
2. Say less
3. April Ha Ha
4. Catch a Fade
5. Famine Asylum
6. Bernie Sanders
7. In Blueberry
8. Memories
9. Blue Mecca
10. Just a Story
11. Ask The Rust

Last year, astronomers revealed the first-ever photograph of a black hole. The image resembled an eye with an ominous dark center surrounded by a lopsided ring of red. The strength of a black hole is so overpowering that nothing—not even light—can escape it.

When the black hole photograph was published on the front page of The New York Times, NOTHING founder Domenic Palermo bought a copy at a newsstand, framed it, and hung it above the desk where he writes. The image of a black hole might be menacing to some, but for Palermo, it fits perfectly in line with the themes he draws from. A swirling void ready to destroy anything in its path seemed like a perfect metaphor for humanity itself. One day, sitting at his desk, Palermo had an idea for a new album, and he wrote down a single line: “Existence hurts existence.”

The Great Dismal, NOTHING’s new full-length album explores existentialist themes of isolation, extinction, and human behavior in the face of 2020’s vast wasteland. Closing in on the band’s ten-year mark, Palermo finds himself stringing together songs of misanthropic tales of Philadelphia with a refined and refreshed take on NOTHING's classic sound. “The Great Dismal refers to a swamp, a brilliant natural trap where survival is custom fit to its inhabitants,” Palermo states. “The nature of its beautiful, but taxing environment and harsh conditions can’t ever really be shaken or forgotten too easily.”

NOTHING, a notoriously unlucky band, was set to record in February of 2020, right around the time that America began preparing to be hit with a deadly virus. “As if this band needed any more fear and uncertainty,” Palermo says, laughing a little. After a self-imposed 14-day home quarantine, the band and producer Will Yip, who previously worked on NOTHING’s critically-acclaimed sophomore album, Tired of Tomorrow, locked themselves in Pennsylvania’s Studio Four once again, completely isolated from family and friends while the madness in the outside world unfolded. The result is an atmospheric, cinematic collection of songs and stories. While Palermo and the band have made a career around their signature sound, it is clear the current lineup has reached a point of mastery. Palermo effortlessly blends layer upon layer of sweeping guitar tones that create an ensemble of vanishing and reappearing sounds, resembling ocean waves crashing against cold, desolate shores. The songs reach new levels of melodic accessibility without losing the hallmark structures we have come to expect from NOTHING. Each track is vibrant, and reverberates with a crushing sense of unpredictability, undergoing a sonic metamorphosis, always being held together by NOTHING’s relentless rhythm section led by bassist Aaron Heard and percussionist Kyle Kimball. Palermo’s distinctly sincere approach to vocals are given additional support with the addition of labelmate and Cloakroom front man Doyle Martin, whose soaring harmonies float in and out of the landscapes laid out before them. The ever progressive NOTHING stay true to their chaotic outlook on life, keeping a keen eye to avoid repetition. With a radical cast of talented contributors such as harpist Mary Lattimore, classical musician Shelley Weiss, and singer/songwriter/producer Alex G., The Great Dismal showcases yet another side of the band’s trademark American Post-Shoegaze sound.

NOTHING’s cynical, yet sincere lyrical side can be heard weaving through their sound from the start of the album’s bleak-yet-glistening “A Fabricated Life” where you can hear Palermo struggle; “in skin that fits me, but never fit me” to the album’s dream like closer, “Ask The Rust” where he repeatedly questions, “when did you find out you never made it home?”. It is not all pessimism though: on “Famine Asylum,” Palermo embraces the quick ending. “Send the bombs / We’ve had enough of us.” The song, inspired by the Dr. Strangelove subtitle: How I Learned to Stop Worrying and Love the Bomb, seems to hint at a sense of humor even in the midst of all the darkness.

Despite the hurdles that come with creating while quarantining, Palermo sought out NYC based visionary and Midland Agency co-founder Walter Pearce to art direct the album's imagery. Pearce then brought on photographer/filmmaker, Jordan Hemingway to shoot both the album art and a cohesive series of music videos for NOTHING’s forthcoming singles, setting a serene yet chaotic scene of apocalyptic tranquility around the album's sound.

Years ago, upon release from a New Jersey State Correctional Facility for a 2000 assault which Palermo still claims was in self-defense, an officer caught Palermo with a waistband full of his books. One of those books was Meditations, by Roman philosopher Marcus Aurelius. “The book had sentimental value,” Palermo said, and it is easy to see why. One of the book’s meditations reads: “The stench of decay. Rotting meat in a bag. Look at it clearly. If you can.” The Great Dismal shares this stoic attitude—even if the world is rotting, the lyrics encourage you to look directly at it. If you’re lucky, you’ll find beauty somewhere in the void.

 

this is so sickkkkkkkkk

 

Last record stunk, but this song is really good.

 

Doyle Martin adds a lot to this record.

 

a lot of these pre-order links don't appear to be working? has it not officially gone up yet?

 

10 AM EST

 

This is really really good!

Edit: Just read about Martin from Cloakroom's involvement with the album, this could explain why the vocals sound much better/ so different than on their previous releases.

 

Glad they went back to Will Yip. Blacktop had its moments but it was lacking something the other two albums have.

 

That’s the best song I’ve heard from this band by some distance

 

Blacktop has terrible production overall. Felt like I was listening with cotton balls in my ears and Dom's vocals were so bad and incoherent.

I personally love how they sounded with Yip on ToT and this more Ride-esque sound is super refreshing. Hoping that Doyle takes over on vocals on a track or two.

 

Doyle being involved rules.

 

I'm probably in the minority, but I really enjoyed Blacktop. It felt like a 90s shoegaze record at times with the production.

New song is great too though.

 

You had me in the first half. I love Blacktop and everything before it...this, this feels like Dominic was told to do his best Chino over a Skillet b-side instrumentation. Maybe it'll take a couple listens...

 

I have heard one or two Skillet songs, and this song sounds absolutely nothing like either of them

 

My uncle by marriage is a "metalhead" whose favorite bands are Skillet and Kutless. I can't imagine him liking this minus the fact that there are probably no allusions to Jesus.

Though if he did, he'd still be a bit of douche.

 

As someone who went to my church’s teen youth group and was consequently exposed to countless songs by Skillet, I can confirm this song sounds nothing like Skillet

 

hell yeah doyle

 

This band had some shitty people in it right? I assume those guys are out?

 

Yes

 

The band were only treading water on Blacktop, this is sounding much more promising. Doyle is a big in but hoping that doesn’t mean Cloakroom is done

 

I’m pretty sure they have a new record recorded FWIW

 

yeah there's no indication this will effect cloakroom at all

 

I liked this song when I first heard it, but I absolutely love it now

 

same. that drum sound is killer.

 

Not happy they're sticking with the "album covers so off-putting I don't come back to it often" look from the last record...