Take A Hike Records – 01 Oct 2021
Nora Marks engage in an unflinching exploration of self-doubt and anxiety on debut album Opt Out.
Chicagoan outfit Nora Marks album Opt Out is their debut full length release. It is a record grounded in a melodic punk ethos but with a willingness to experiment. There are shades of garage rock and even a couple of Outlaw Country elements in the mix. Thematically the songs grapple with the vagaries of existential angst and how to give expression to such concerns in a meaningful way. Guitarist and vocalist Michael Garrity describes wanting to explore the ‘fractured nature of an internal monologue in the modern digital age.’ In keeping with their nominative choice there is something of a literary bent to their lyricism: Nora Marks was the pen-name of journalist Eleanor Stackhouse Atkinson who wrote for the Chicago Tribune.
Opener “Epiphany I’ve Had Before” has a bouncy feel to it, with the riff tracking neatly to the drums. The relatively bright sound sits against lyrics that explore the cyclical nature of doubt and uncertainty. A sense of ennui is apparent. The invocation to ‘lean into routine and do your best not to get bored‘ feels as though it is a somewhat unconvinced attempt at finding purpose. Stylistically across Opt Out the vocals vary between a measured cadence and a raspier more shouty approach. Such is the case on “Too much History” which incorporates melodic backing vocals to bolster the half chanted lead. The band capture a sense of energised grievance before dropping out to an end section that allows the bass to come to the fore.
“66” is another intriguing number where the vocals and the twangy guitar have a decidedly country air. The bleary eyed protagonist sounds hungover and more than a little world weary. There is a hint of black humor as the song refers to seeking existential truths and later ‘trying to make a difference with a bachelors degree,’ before admonishing himself for focusing on things like degrees.
One of the aspects of the album that works well is the decision to punctuate the tracks with shorter instrumental pieces. “Warshboard” opens with a shuffle marching style beat before segueing into a vibrant pop punk riff for the latter half. “Transmission” is a glitchy atmospheric piece, with a scratchy aesthetic and the hint of slightly menacing vocalisations in the background. “Deer Spit” finds the band digging into a simple but groove heavy riff with a tinge of Deep Purple to it.
Nora Marks have assembled a record that grows better with each new listen. What I initially found to be something of a jumpy collection of songs at first, is actually a pretty cohesive whole. It could perhaps be loosely seen as a concept album; one that unpacks its central concern from multiple viewpoints. This is an approach heightened by the fact that all members take on vocal duties. The musical range that is demonstrated here is more subtle and nuanced than it might at first appear. In that sense, their aim at rendering the fragmentary nature of an individual trying to negotiate an environment of conflicting stimuli has been realised successfully. It helps that they can write a catchy riff too.
