Hailing from Italy, N.A.M.B. have been deliberately cryptic online about the meaning behind their initials. Is this to enforce open interpretation on us or is it simply a dastardly promotional tool? Yeah, I know: yawn! Let’s get down to how they sound.
Way back in 2002, The Flaming Lips made a compilation of their first three studio albums called ‘Finally The Punk Rockers Are Taking Acid’. Interestingly, N.A.M.B have been compared to The Flaming Lips (debatable in my opinion) but in context, a more accurate version of that title would be 'Finally The Punk Rockers Have Gotten Into The Beatles'. N.A.M.B. are what would ensue if the band from Liverpool rose out of the 80’s instead of Chuck Barry Rock n’ Roll. A dangerous statement I am aware but the two are similar only in creative approach. Perhaps a link to Supergrass or suggestions of psychedelic Punk would be safer to claim.
BMAN is an ambitious, Rock-of-all-types record with intentions of international recognition - an eighteen track labour of love chocked full of driving guitar, unusual changes in mood and structure, echoing textures and surprising effects, contrast and unity. What remains consistent throughout is their humour and ‘throw it all in’ ethic. Earning his position at the front, Davide Tomat (guitar/vocals) has a rich tone and a powerful delivery achieving David Bowie style singing acrobatics. Some tracks of note are the uncannily drunk ‘Musichetta In Pausa Sigaretta’ and the cloud gazing ‘Hate My Telephone’.
So, despite my premature reservations, N.A.M.B are not wise guys, banishing abbreviations and trying to be clever. This, their Big Second Album, is a push forward for them, a proud accomplishment; but let it roll around in your head for a few days and the record becomes more like a prog misadventure by Feeder. So much for The Beatles. Still, with this much crammed in, it’s bound to appeal to a great many tastes.
(© Copyright 2009 Brendan Morgan)
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