Independent rock band Nehoda is scheduled to release its new album But Anyways… Friday. The nine-song record is an interesting presentation from the band. That is due to in part to its musical arrangements, which will be discussed shortly. The 39-minute album’s lyrical content also plays into its presentation. It will be discussed a little later. The sequencing of that collective content rounds out the album’s most important elements. Each item noted here is important in its own way to the whole of the album’s presentation. All things considered, they make But Anyways… a work that shows promise for Nehoda.
Nehoda’s forthcoming album But Anyways…is a presentation that is worth hearing at least once. That is proven in part through its musical arrangements. The arrangements in question are of interest because while they do an impressive job of exhibiting the band’s wide range of influences and talents. From the plodding, Animals-eque ‘Lies’ and ‘Devil’s Bitch’ to the more Bruce Springsteen style approach of ‘Please Don’t Go’ to the Pearl Jam-esque ‘Afterglow’ to the more grunge stoner vibe of ‘I Don’t Know,’ the album’s opener to the more alt-rock approach of ‘Shakey Pop,’ this record takes audiences in a variety of directions. On the surface, this is a good thing. That is because again, it shows the wide range of the band’s influences and talents. It shows that the band is not just some one-trick pony so to speak, which will appeal to plenty of listeners. This is just one aspect of the record that will appeal to listeners. The arrangements’ companion lyrical content works with that content to make for even more appeal.
The lyrical content that is featured throughout Nehoda’s new album is key to discuss because it is so simple and accessible for listeners. The album opens with a clear sociopolitical commentary that goes after a variety of institutions. Band namesake and founder Patrick Nehoda opens the song by addressing those who would attack anyone who might want to speak their minds as he writes, “Try to find your voice/It ain’t f****** correct/Try to make a choice/Cut you off at the neck.” That second line in the song’s lead verse comes across as a statement of how people are just as apt to attack one another for standing on one side of an issue or another. The short and simple here is that he is seemingly making a statement about how divided America has become. In the song’s second verse, Nehoda seems to address the government sending people off to war and the fact that when American forces go overseas, innocent people (including children) are killed. It is a lot of metaphorical language, but it would seem to make sense at least in this critic’s mind. This is inferred as Nehoda sings, “Governments killing babies/Children for hire/It’s no wonder the youth of the world/Want to set this place on fire.” That line about “children for hire” maybe hints at people as young as 18 (basically children) are hired by the military to go to war and “kill babies.” Again, this is all just this critic’s interpretation and should not be taken as gospel. That aside, it certainly seems to be somewhere in that proverbial ballpark. Sociopolitical commentary is anything but new to the rock realm, but is no less impacting here as it is in those other instances. From here, things take a noticeable change, focusing more on the topic of relationships and inner struggles. Case in point are songs, such as ‘Devil’s Bitch,’ ‘Lies,’ and ‘Just Another Season.’ ‘Afterglow’ meanwhile takes a slightly different, more upbeat tone. ‘Shakey Pop’ does center on a personal relationship, but comes across more as a song whose story is more of a coming-of-age presentation than the standard work about relationships of any kind. Simply put, the lyrical themes featured throughout this record will connect with listeners just as much as its wide range of musical arrangements if not more so. Now keeping that in mind, it is still just one more of the elements that warrants examination. The record’s sequencing rounds out its most important elements.
The sequencing of Nehoda’s new album is important to examine not so much just because of the songs’ energies, but rather the ability of this element to connect the album’s distinct musical styles. Case in point are the transitions between the record’s first three songs. The stoner rock opener that is ‘I Don’t Know’ dies off and fades out slow enough that when the equally slow, introspective ‘Lies’ opens up, the transition is fluid. The same can be said of the transition between that song and its follow-up, ‘Devil’s Bitch.’ Now while the transitions between the album’s first three songs are solid, that is also because the songs’ arrangements are so similar. From there, things change notably. ‘Shakey Pop,’ which immediately follows ‘Devil’s Bitch’ is more of a Foo Fighters type work in comparison to the gritty blues rock sound and approach of ‘Devil’s Bitch.’ Yet somehow the transition works even in this case. Maybe it is again the amount of time given between songs and the fashion in which the prior ends and the latter begins. The two are clearly different, but each has a certain heavy fuzz about them, giving at least some connection. The relaxed finale of ‘Shakey Pop’ is what makes its transition into the even more reserved ‘Walk Away’ work as well as it does. Much the same can be said of the transition between ‘Walk Away’ and the album’s title track. Interestingly enough, that song gradually builds to a very heavy arrangement. The heavy opening bar of the otherwise contemplative ‘Just Another Season’ is what makes the transition there work as well as it does. The record’s final two songs move just as fluidly as the rest of the album’s entries. The end result is a presentation that shows despite having so many distinct musical influences and styles throughout, those behind the glass put in a lot of time and thought to ensure this aesthetic aspect strengthened the album’s presentation just as much as its content. When it is considered along with the collective content, the whole of the album becomes even more worth hearing. As a matter of fact, they combine to make the album a presentation that in hearing, listeners will agree shows some promise for Nehoda.
Nehoda’s new album But Anyways… is a work that will leave audiences saying anything but But Anyways… Rather, it will keep them engaged and focused on its presentation throughout. That is proven through its diverse musical arrangements and its accessible lyrical content. When that content is joined with the album’s sequencing, the whole of the album proves itself a presentation that shows some promise for Nehoda’s future. But Anyways… is scheduled for release Friday. More information on the album is available along with all of the band’s latest news at:
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