Nouns

Nouns is so cacophonous, so fertile, and so ripe with sound that parsing out the samples and effects and various layers of guitar is nearly impossible; besides, it's way more satisfying to just close your eyes and just enjoy it.

This one's solider, more concrete -- even beautiful sometimes.

Nouns is truly psyched, soaring sound.

Naturally, there are moments that regress into mere riffs on the band's million-old forerunners, but attitude intermixes with ambiance on Nouns in a special, timeless way. [Spring 2008, p.99]

Nouns sounds as homemade as something released on a Warner Music affiliate could be. It’s crafted with a sense of pleasant haphazardness, gelling into one of those rare situations where everything that is thrown at the wall sticks.

As the 12 songs pass by in 31 minutes, the overall effect is nothing short of exhilarating. While their musical antecedents are clearly apparent, at no stage does Nouns feel in any way derivative or familiar.

Nouns showcases the appealing joy to No Age's process, the band attacking its music with relish and humor.

Despite these sawed-off edges, Nouns is an extremely accessible album. [June 2008, p.135]

Definitely on the arty end of the post-rock gradient, No Age manage to channel elements of other great bands who have woken up drunk on the lo-fi line between pretty and noisy.

Taken on its own terms, though, Nouns is a righteous success: delightfully dazed, good-times punk rock for a new generation of Californian dreamers.

Nouns evolves gradually, with 'Teen Creeps,' 'Sleeper Hold,' and 'Cappo' adding Superchunky pop riffs to their relentless punk vigor. [May 2008, p.109]

Nouns is a more likable and less abrasive version of No Age, with a little something for everyone and a little nothing for no one as well.

No Age turn noise into gold on Nouns.

I’m sure, at a certain time (or high), these songs work more than they let on; they’re risks that seek rewards. Credit No Age for making Nouns still pretty great.

As scattered as ever, Nouns covers a gamut of abstraction and occasionally even runs into a wall of melody.

The album switches between grimy rockers (“Here Should Be My Home”) and come-down lullabies (“Things I Did When I Was Dead”) seemingly at random, but the fuzzy haze that hangs over each track holds the record together.

The reinvention is thrilling to eavesdrop. [June 2008, p.106]

Nouns may not fully realize all of No Age’s potential, but it’s urgent, frantic, and loud--just like punk rock should be. [Summer 2008]

Though generally safe and un-"sexy," Nouns is the sort of album around which healthy musical communities could grow, and that seems to be the point.

L.A. may be the center of plastic glamour, but this noise-punk duo prove the city still has a dangerous side.

Since avant-punk often has more “limits” than its creators recognize, respect and then some to No Age for keeping theirs interesting.

Nouns' title stinks compared to that of their 2007 debut, "Weirdo Rippers," but the jams are way better.

Despite No Age’s enforced restrictions, they’ve come up with an album that--in its urgent, accidental variety--is far more exciting than the studied stylistic uniformity of most rock bands’ efforts.

Taking things up a small notch in terms of recording quality (medium-fi would probably be apt, as it's still a long shot from glossy), this is certainly a more cohesive release than their debut, with some absolutely killer songs mixed in with some rather middling ones.

You'll find yourself wondering if Nouns is really all that good or if you're just shocked to hear such songs on a No Age record.

The band's live performances, politics, and loyalty to their fanbase are to be admired, but Nouns will leave you wanting more.

But for all Randall's hairdryer noise and molten texture, they seem to lack killer hooks.

No Age is certainly an adventurous band, but its sound here suffers from too much repetition.

There are songs on Nouns that seemingly defy you to listen, and not because they’re loud or crass or due-heavy on true-dat market-maneuvers and what I guess we can now safely call “aural assault”; and not because of the bad vocals, bunkered mix job, or the hundred and one other things that would make your parents, my professors or Celine Dion hate this album.

Nouns' effect is hazy, numbing, and merely pleasant--quite the opposite of experiencing No Age in person.