No Lust For Life Out Friday October 2nd Via Super Fan 99.
What is Cornwall famous for? In my mind it is the Cornish Pasty, Sir Walter Raleigh, and Bodmin Moor. Very soon, we could be adding the name Matthew Oliver and his Goddam Nobody venture to that list. Beginning as a bedroom project, Oliver eventually formed Goddam Nobody in 2014 after recorded a collection of demos. Immediately as he shared his music online, he began to glean attention from blogs and labels. Art is Hard Records included him on a compilation and Lauren Laverne played a track on her BBC 6 Music show.
No Lust For Life serves as Goddam Nobody’s first official release and we are proud to present it as an exclusive stream here on Overblown ahead of its release on Friday October 2nd via Super Fan 99. Matthew Oliver was good enough to let us know the stories behind each of the six new songs that will feature on mini-album. Read them below while you listen to this exquisite 50’s/60’s tinged record.
No Lust for Life is released on hyper limited clear lathe cut 10” with hand stamped numbered sleeves. Pre-order it via Super Fan 99. The record will also be available digitally on the same date. A London launch for the mini album takes place on October 5th at The Finsbury with a full Super Fan supporting cast.
September 30th –The Tooting Tram, London (with Hey Rocco)
October 5th –The Finsbury, London (launch with Husband Material and Matt McKee)
October 12th – The Shacklewell Arms (with Hunck)
October 21st – The Old Blue Last, London (Super Fan 99 1st Birthday Party)
1. No Lust For Life
This was the first track I wrote for this record. Let’s just say I was making a pretty tough time of things for myself last summer and this one just seemed to come out of it. Initially it was intended to be just an acoustic guitar and a couple of extra vocal harmonies but since playing it with a band we definitely achieved a much darker, harrowing kind of song. Like with my last EP I wanted to have some noise at the start and had this idea of a couple of guitar parts which worked well reversed. The name is sort of a nod to Iggy (Pop).
2. Hit The Ceiling
This song to me always had the makings of a single. I really wanted to write one of those cool ‘Strange Boys’ or ‘Dead Ghosts’ kind of riffs which they are well known for, and for one who is pretty terrible when it comes to lead guitar I was happy with how it came out. It’s meant to be fun and bouncy to listen to but the lyrics have this melancholic undertone.
3. Stranger Daze
This was the last song I wrote but it came together really quickly. I only had some chords and a melody when we recorded the drums and bass. Becoming obsessed with the Growlers, I wanted it musically to sound like something from their last record. Dan our current guitarist really made it what it is with this cool spooky riff and the Beatles-esque backing harmonies on the chorus which are just lovely to listen to on their own.
4. Memory Lane
A song generally about reflecting on memories and how we can let those things still affect day to day life. I wanted the music to be kinda bouncy and 50’s style prom vibes. Dan once again pulls out this nice little solo at the end of the song which is one of my favourite parts even though it’s only like 5 seconds long.
5. Nothing’s New
This one started out as an acoustic guitar demo and I always thought it sounded like something Mikal Cronin might do. But playing it with the band, to me it immediately sounded like the Velvet Underground but instead of some cool Lou Reed crooning it’s my somewhat frail voice complaining about something or other haha.
6. Not So Hard
A bluesy number which came out sounding like possibly something from Highway 61 (but obviously no way near as good). I always knew this would close the record as lyrically I was trying to sum up everything the previous songs are talking about. A bit of a travelling song, it’s one for pondering and about coming out on the other side, turning things around. It’s also nice to end on something relatively upbeat and positive. The noise at the end is actually the chords of the chorus from the first song. I always thought that it was an uplifting part and wanted to put it at the end to signify change. Ben Woods, the producer, added some other cool sounds to it and generally did a stellar job on the whole record.
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