No Use for a Name
Keep Them Confused

The second-to-last musical effort by No Use For A Name (last year the new album "The Feel Good Record Of The Year" was released) confirms the melodic shift in the recent albums of the Sunnydale combo. "Keep Them Confused" is indeed the typical melodic Hardcore album without particular highlights, except for its tendency to relax and too often delve into pop.

The style perhaps recalls the latest Lagwagon and at times that of NOFX.

There is little punk or hc, as one might call it, here: something in "Bullets" (nothing exceptional, however...) characterized by a sharp intro of guitars and final choruses and in "Check for a pulse," a fast-paced track featuring an excellent solo, the best episode and main pillar of the LP.

The launch single "For Fiona" is also noteworthy, where whispered vocal lines alternate with regular singing, featuring a catchy melody that in the vocal interpretation might remind one of some emo groups. Catchy, but damn sure to be a sing-along.

However, the pop-rock moments stand out over time, like the emblematic sweet acoustic ballad "Divine Let You Down." Yet among the saccharine-filled tracks, the slow "Black Box" stands out particularly, at least with an engaging refrain and a well-done solo. And all in all, "It's Tragic" and "Slowly Fading Fast" also make a decent impression.

To all of this, let's add that the initial doublet immediately leaves a bitter taste with two mellow medium-core tracks and that the goodnight and farewell are given to us by a non-transcendental ballad "Overdue" that leaves us unsatisfied.

It is difficult to classify the CD into a specific closed category. The rhythmic base is predominantly melodic hardcore, but the vocals and a good part of the songs are pop-rock, and I add that the guitars are not properly exploited. The only aspect that stands out in this album is surely Tony Sly's beautiful vocal tone, one of the most beautiful voices of the genre. Even more emphasized given the characteristics of the work.

The last note concerns the use of strings and violins that insert themselves into the tracks, adding another layer to the general sound.

In conclusion, the hallmark of this album is perhaps the absence of great “pogo” episodes, instead it is full of overly thin vocal lines that do not encourage one to listen to it entirely. However, in favor of the band, it must be said that despite lightening the sound, the combo has never sold out to a major, going their own way, so this umpteenth chapter of Tony Sly and his associates could be seen as a normal evolution.