The Famous Nothings - Organs
Indie-pop outfit The Famous Nothings released two singles in April 2019, “Creep” and “Organs.”
The Famous Nothings
This is another outstanding band or single individual or duo or trio I discovered surfing through the ‘New Arrivals’ on Bandcamp. Unfortunately, once again, there is very little gen on The Famous Nothings. I found one article/review here, written by Abigail Whinn, who does a good job describing the music but offers negligible hard facts about who is in the band, if it is a band.
Ms. Whinn does offer up some links, including the band’s FB page, which reveals that Andrew Mello is either in the band or the band is his musical project, probably the latter. In any event, The Famous Nothings darn well have it going on.
Heavy, thick guitar colors imbue the tune with dense harmonic essence that’s aggressively visceral and full of dark resolves.
“Creep” opens on raw percussion and Weezer-like guitars flowing into a ragged, loose, lo-fi, grunge-flavored pop tune. On the chorus, the harmonics take on a Beatles-esque White Album feel, kind of psychedelic and simultaneously kind of Nirvana-like, yet totally sui generis.
Strident synths tremble, shudder, and shimmer on quasi-discordant textures, as glazed vocals deliver the lyrics.
“Organs” opens on austere dark colors topped by a sinister-sounding voice, and then flows into a melody reminiscent of The Smashing Pumpkins, especially on the chorus, where the vocals exude Corgan-esque timbres, but not a whiny or tinny as Corgan’s. Heavy, thick guitar colors imbue the tune with dense harmonic essence that’s aggressively visceral and full of dark resolves. Vague filaments of new wave and dream-pop run through the tune. When combined with the powerful dynamics of the guitars topped by a droning synth, the result is unrelenting sonic mass suffused with secretive intensity.
Both “Creep” and “Organs” are excellent, full of unique, almost eccentric, hues of color, infectious rhythmic pulsations, and weird and wonderful vocals. The Famous Nothings sound lacks contemporary equivalence, yet is stunningly superior.
