3 seems like a perfectly fitting title for a new Nots album. After all, it is the Memphis band’s third full-length and their first as a trio. Makes sense. But peeling back the layers reveals the spirit of the record: “Once we really leaned into the space that being a three-piece afforded us, our writing started to make better sense and connect,” explains guitarist-keyboardist-vocalist Natalie Hoffmann. “It made for a more interesting record than if we stayed comfortable and safe in the way we were writing.” “More interesting” is a classic hard undersell. When Alexandra Eastburn left Nots in 2018, the threat of losing the gnarled texture or her hammering synth progressions resulted in some real growing pains for the band. But once the threesome arrived in Memphis to record with trusted engineer and friend Andrew McCalla, each member had embraced this fresh identity. Rather than abandon the noisy synth attack, Hoffmann instead decided to add another role to her expanding sonic arsenal, painting the backgrounds of tracks with melting buzzes and swirling waves. After the record began to take form, it felt much more accurate to understand 3 as a different force altogether from its Goner predecessors, Cosmetic (2016) and We Are Nots (2014). Themes of lost control and societal division are spread throughout the album. They can be heard not only via Hoffmann’s reverb-drenched drawl, but also in the sneaky tightness between drummer Charlotte Watson and bassist Meredith Lones that occasionally (and quickly) devolves into a beautiful, reckless cacophony before shoring back up again. All this amounst to a dark, unpredictable, raucous, liberating, and bold tour de force of a third record from the Memphis three—along with a strong impression that the best still yet to come.
Received a 7.6 rating from Pitchfork