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  1. Positive: 1 out of 1
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  1. Apr 25, 2011
    9
    This album is a powerful start. Listen to it the way its supposed to be listened to: on your mom's old stereo system, in your basement, turned up so loud that you can't hear your neighbors screaming at you, or the police bustin up your door. After listening to the album, it feels needless to say, it is a debut that leads to something else. The dirtiness, the scratchiness, the raw sizzlingThis album is a powerful start. Listen to it the way its supposed to be listened to: on your mom's old stereo system, in your basement, turned up so loud that you can't hear your neighbors screaming at you, or the police bustin up your door. After listening to the album, it feels needless to say, it is a debut that leads to something else. The dirtiness, the scratchiness, the raw sizzling **** It takes lo-fi ideas and nurtures them with heroin. Put on some sort of speed that's fast but heavy. Feels really good turned up loud. This album is gritty, messy. But it feels excellent. Oh ya, some good songs are Pricks In A Car, 4312, and Underwater To. Expand
Metascore
68

Generally favorable reviews - based on 11 Critic Reviews

Critic score distribution:
  1. Positive: 6 out of 11
  2. Negative: 0 out of 11
  1. Mojo
    Apr 4, 2011
    60
    The Detroit budget-punks follow last year's eponymous art-scuzz by zinging through 12 anthemic amp-melters in 26 minutes. [Feb 2011, p.989]
  2. Uncut
    Mar 1, 2011
    60
    The fall and Dead Kennedys are the key influences here. [Dec 2010, p.109]
  3. Mar 1, 2011
    70
    The nuanced defeatism on Nothing Fits separates these brash, loud punk anti-anthems from the standard hardcore fare. The most ephemeral evidence of this is also the most effective: instead of battering you into submission with unadulterated force, songs are separated with just enough silence to make you uncomfortable, impatient. The subtle natures of hell are often the worst.