This record gave me my first
impression of Cloud Nothings, an impression that many people would argue is
either false or weak. But I am not here to judge a band by how they used to
sound, only to analyze how this record stands as a collection of music, and for
me, Attack on Memory stands pretty
strongly.
While short, this record holds a
remarkable amount of punch. Each of the eight songs carries itself with such
reckless confidence that it gives the impression that Cloud Nothings is playing
a 45-minute set in your backseat. The distinct live-sound of the record, which
can be partially attributed to producer Steve Albini[1],
allows for the listener to truly experience the movements of the songs, in the
same way an audience member does at a live show. The overall sound of the
record is raw and real, exposing every flaw and virtue inherent in the music to
the listener, allowing judgment without fearing it.
The honest feel of the record is
something that makes it all the more endearing. Nothing is buried; the songs
present themselves brutally and genuinely. There is no pretense in the sound, a
fact strengthened by the album’s very live feel. Jayson
Gerycz beats his drum kit relentlessly, the rest of the band matching his
merciless level of attack. Every song shows the band giving one hundred percent
in their performance, leaving nothing in reserve. Such makes for music that is
most truthful, my friends.
The youthful honesty spilling out
of Cloud Nothings’ instruments is also imbued into the lyrics. The record
presents a few major themes for consideration, the most prominent of which is
aimlessness. Dylan Baldi’s simple yet solid lyrics suggest a disconnection from
past, present and future. There is nothing to look forward to, no reason to
look back, and yet the now seems just as unfulfilling. His catchy and bold
statement, “I thought I would be more than this,” the chorus of “Wasted Days,”
is an anthem on the tongues of so much of America’s youth, displaced in
dead-end jobs while their dreams gather dust on the shelves. The apathy implied
in songs like “Fall In” or “Stay Useless” portray disaffected narrators mucking
about in an impotent present.
While the record presents the
listener with some damn good music, it does have its weaknesses. The sound of
the record benefits from the minimal production, but the songs themselves seem
a bit unexplored musically. Many of the songs follow a “verse-chorus-verse”
pattern in which each part is played in an identical fashion throughout. There
is a lack of unique musical moments in the songs, such as exotic drum or guitar
fills, a fact which, while reflecting the honesty of the writing, can lend to a
monotonous feel in some places. The songs feel like they require just a bit
more refining and tweaking, the only things holding them back from being
monstrous musical pieces.
Despite such complaints, Attack on Memory provides an
exhilarating listening experience. A few songs in particular I found myself
really digging, the first of which is “No Future/No Past,” the opening track
and first single of the album, which was named “Best New Song” by Pitchfork
Media.[2]
From the very beginning, the song exudes an atmosphere of confusion and apathy.
Instruments seem to come in at odd times, denying the listener the common
courtesy of a downbeat as a reference point. Starting quietly, the band trudges
through a simple, pounding riff, while Dylan’s voice drones through a
depressing mantra headed by the phrase “Give up.” The repetitive lyrics and
riff build from apathy to angst, until finally there is a breaking point. The
band explodes into the second part of the song as if fed up with the first
part, and Dylan’s murmurs become screams torn from his throat. This fit of
frustration resolves without a resolve at all, as the guitars hammer a
dissonant chord before abruptly ending. This song’s blatant disregard for such
musical standard practices, mixed with its non-formulaic shape, make “No
Future/No Past” a heady and fierce listen.
Perhaps one of the best songs on
the record is the one that convinced me to buy an entire album of music I’d
never heard: “Stay Useless” (also named “Best New Song”[3]).
My very first exposure to Cloud Nothings was a twenty-second live clip of this
song on MTV, where I was immediately ensnared by the song’s energy and
extremely-catchy chorus melody. That song stayed lodged in my head for a month,
and its merit alone prompted me to purchase this record. Unlike “No Future/No
Past,” “Stay Useless,” the second single off of Attack on Memory, is upbeat, even optimistic. It relies on a more
orthodox song shape, and holds the most catchy and danceable chorus on the
record. The song constantly alternates between loud thrashing and soft
strumming, all supporting a most pop-centric and delicious melody. Unlike the
songs surrounding it on the record, “Stay Useless” is neither a complaint nor
lament, seeming more like a musical celebration, the wishing off an eyelash for
a little more time, a little more motivation, a little more purpose. Yet, while
the lyrics seem listless and indifferent, the music that surrounds them
completely waylays the lack of sentiment with the most passionate and
meaningful sounds on the record.
Whether or not you can dig the
lo-fi pop-punk sound, what Cloud
Nothings present here is very real:
four musicians being wholly truthful in their music, in a time when much of the
meaning in music is fabricated, whether by artist, fans, or executives. Attack on Memory is a sincere record,
full of straightforward angst and powerful musicianship. It lays out in raw honesty a youthful truth for anyone who cares to open
their ears to it, with an energy level rarely experienced outside of a live
show. Yet perhaps the greatest truth inherent in this record is that it is
simply fun to listen to.
Tunes To Check Out:
1) Stay Useless
2) No Future/No Past
3) Fall In
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