Their well-received CD-single “Songs To Make You Happy” was a splendid appetizer, a fantastic bunch of songs which advanced what we were going to find when this “Suspiciously High” was finally out. We said it till everybody knew it: the new NOTHING album was going to be produced by Paul Fyfe (from COAST) and Sean Jackson (from 18 WHEELER), and we were all expecting to check what could ever come out from such a pop wizzard’s wedding.
Both Sean and Paul went to the rehearsing room with the band, working on the songs before they began with the recording. Once inside the studio, they focused on getting different guitar and bass sounds (for the recording of some of the guitars they used even eight mikes at a time), arrangements, vocal processing and helping the band to write the backing vocal arrangements. They mixed the album in London, at the Matrix studios (which, incidentally, were formerly opened to record the SEX PISTOLS’ “Never Mind The Bollocks”). During six days of hard work with Trevor (the sound engineer, who has worked with such bands as BLUR or OASIS), THE FRANK AND WALTERS and BABY BIRD came into the studio to record some stuff.
And, at least, here’s the outcome: “Suspiciously High” is a round, homogeneous record, which confirms Ernesto Sánchez as a superb songwriter, and NOTHING as one of the bands to bear in mind in the forthcoming months. It opens with a new, overwhelming version of the already known “How To Destroy Rock”, whose power gives contrast to the new version of “Pop Socks” (“Pop Sucks” on their debut single, the one which discovered them to the good pop lovers some time ago), more relaxed and intimate.
On “Toasted Beans” they alternate distorted guitars with crystalline arrangements in a most natural way, easily going from the late TEENAGE FANCLUB to REDD KROSS (joining them with those effective, ever-present backing vocals). They have taken great care in the sound of the album; both guitars and bass have different textures and intensity: in the mid-tempo “Packet Of Lies” it’s the bass who drives the song, just like in the unconcerned “Rat On” (with that jangly BOO RADLEYS atmosphere).
“Really Down” has a long, hypnotic final coda, directly linked with the experiment “High On D#”, a song which was quickly done from a band’s idea of doing something different with sounds they also like, with the help of the “bassLAB”. “Waiting”, the closing track, is an acoustic farewell which tries to be heard over the noises of an anonymous station. It’s sad to take leave of a record like this, but that has an easy solution: you have always the chance of starting the process again. As a matter of fact, to press play again and sit down in your favourite armchair is the best thing you could do.