NOTHING shares “Curse of the Sun” video + Kicks off EU tour


Credit: Stella Asia Consonni
Ahead of their six-week European tour, NOTHING have shared a new music video for “Curse Of The Sun”, taken from their critically acclaimed second album, Tired Of Tomorrow, out now on Relapse Records.
Filmed at shows through New York City, Philadelphia and Washington on NOTHING’s headlining ‘Tired Of Tourism’ tour through North America this past May, “Curse Of The Sun” was directed by Jimmy Hubbard (Baroness, Carcass etc). Speaking of the track’s ideals, frontman Domenic Palermo explains:
“This song is a nothing more than a declaration of war with the Sun. It’s the center of the universe that’s to blame for spawning this epidemic of life that is laughably plagued by death. The dark Casanova sprouting humans who live to have everything they can get their hands on, just so they can die and litter it all behind. I’m often reminded by this when we’re playing these big venues filled with hundreds of humans, so it only seemed natural to film in a live setting. That’s the only reason I chose to do a live video actually. They’re normally fucking stupid. Well, that and because Jimmy was filming it all.”

NOTHING have toured solidly across North America since the release of Tired Of Tomorrow. In addition to headline dates, the band have shared stages with Jane’s Addiction, Dinosaur Jr, DIIV, Relapse label mates WRONG and California’s Culture Abuse, as well as festival appearances at Lollapalooza, Governor’s Ball, Spillover, Shaky Knees, Levitation, Forecastle and more. Following a sold-out album release show at Hackney’s MOTH Club earlier in the year, NOTHING return to the UK on September 11th starting a run of UK dates at Bristol’s Start The Bus.

NOTHING recently released their critically acclaimed new album Tired of Tomorrow via Relapse Records. The album charted on the following Billboard charts: #39 Top Current Albums, #128 Billboard Top 200, #1 Heatseekers Chart, #2 Vinyl Chart, #7 Hard Music Chart, #15 Rock Chart, #8 Independent Chart.
European Tour Dates:
9/9 – Tilburg, NL @ Incubate
9/10 – Leffinge, BE @ Leffingeleuren
9/11 – Bristol, UK @ Start The Bus
9/12 – Leeds, UK @ Brudenell Social Club
9/13 – Glasgow, UK @ Broadcast
9/14 – Manchester, UK @ Deaf Institute
9/15 – Birmingham, UK@ The Rainbow
9/16 – London, UK @ Hoxton Square Bar & Kitchen
9/17 – Brighton, UK @ Bleach
9/18 – Antwerp, BE @ Trix
9/19 – Koln, DE @ Underground
9/20 – Munster, DE @ Gleis22
9/21 – Hamburg, DE @ Reeperbahn festival
9/22 – Copenhagen, DK @ Beta
9/23 – Berlin, DE @ Cassiopeia
9/24 – Wroclaw, PL @ Asymmetry festival
9/25 – Leipzig, DE @ UT Connewitz
9/26 – Vienna, AT @ Arena
9/27 – Zagreb, HR @ Tvornica Kulture
9/28 – Linz, AT @ Kapu
9/29 – Zurich, CH @ Bogen F
9/30 – Arezzo, IT @ Karemaski
10/1 – Bologna, IT @ Covo Club
10/2 – Milan, IT @ Ohibo
10/4 – Toulouse, FR @ Le Saint Des Seins
10/5 – Barcelona, ES @ Sala Apolo 2
10/6 – Madrid, ES @ Moby Dick
10/7 – Lisbon, PT @ Musicbox
10/8 – Porto, PT @ Cave 45
10/9 – Zaragoza, ES @ Las Armas
10/11 – Bordeaux, FR @ Void
10/12 – Paris, FR @ Batofar
10/13 – Karlsruhe, DE @ Jubez
10/14 – Wiesbaden, DE@ Schlachthof
10/15 – Amsterdam, NL @ Paradiso
In The Press:
“One of the most promising acts in the shoegaze revival movement”
– Pitchfork
“‘Veritigo Flowers’ is a huge, surging, melodic piece of work, and it sounds really good if you play it really loud”
– Stereogum
“Their most direct form to date”
– DIY Mag
“Capable of leaving heads spinning and hearts reeling”
– The Line of Best Fit
“A beautiful blur of distortion, frenetic drumming and voices submerged in windswept static”
People often wonder why Philadelphia’s NOTHING are so damn loud. In the case of many artists, the volume stems from a preoccupation with negativity, misanthropy and the human condition. But while NOTHING’s attitude lines up with these ideas, their personality isn’t one that the band picked from a list of cliches. Instead, it’s one that’s been molded by the band’s own experiences, from family troubles and personal tragedy to a string of bad luck that Murphy’s Law would balk at. And that volume, rather than a selling point, is the only way the band has been able to translate the difficulty of real-life events into musical form.
NOTHING frontman Domenic Palermo got his start as the brains behind the late 90s/early 2000s hardcore/punk act Horror Show in the crime-riddled neighborhoods of Frankford & Kensington in North Philadelphia. Unfortunately, Horror Show’s existence was cut short In 2002, when Palermo was incarcerated for an aggravated assault charge (to which he pleaded self-defense) and subsequently served a 2-year prison sentence. After getting out of prison and working the next 5 years under watch of Pennsylvania parole board, Palermo took a lengthy hiatus from music, entering a period of personal reflection that led him through a maze of death, negativity and uncertainty. Nicky returned to music in 2010, and founded NOTHING with the release of the demo Poshlost (named for an intense and quintessentially Russian form of spiritual banality). Following the release of Poshlost, Palermo met Brandon Setta, who would bring lush, rich soundscapes and a fresh approach to Palermo’s vision forNOTHING and to the band’s next two EPs, Suns And Lovers (Big Love, 2011) and Downward Years To Come (A389, 2012).
NOTHING then signed to Relapse for their debut 2014 full-length Guilty Of Everything, which was inspired by the events surrounding Palermo’s prison sentence. The album’s genuineness and widespread critical acclaim (from publications such as Rolling Stone, NPR, Stereogum, SPIN,Noisey, The FADER, Vogue and many others) seemed to forecast a new, more positive chapter for NOTHING. The band toured Europe and North America extensively in support of Guilty, and performed at festivals including Osheaga, Roadburn, Firefly, Budweiser Made In America, andSXSW, but this period was unfortunately brief. In summer 2015, while on the eighth consecutive month of a non-stop tour that had seen the band performing with the likes of DIIV, Merchandise,Torche, Failure, Hum and more, Palermo was mugged and badly injured in Oakland, CA. The assault ultimately left Palermo with a fractured skull & orbital, nineteen staples, and a drastically re-shaped perspective about his music and life in a larger sense.
That new mindset, which the band hadn’t been able to realize until Palermo’s injury, forced them to come up for air from the endless touring – “Like when you’re in a car going 100 miles per hour and connect with an oak tree and everything behind you comes smashing forward,” Palermo said. That was the basis for the band’s new record Tired Of Tomorrow, which was recorded over the course of a month at Studio 4 with Will Yip (Title Fight, Superheaven, Touche Amore, etc) this past October. Even since the completion of Tired Of Tomorrow, NOTHING have faced new challenges and difficulties that would certainly have sunk a lesser band. As NOTHING were gearing up to release Tired Of Tomorrow via Collect Records, the band discovered that the label had been funded by the now-infamous hedge fund manager Martin Shkreli. After Collect Records and their entire roster eventually dissolved under the weight of the controversy, NOTHING were left adrift. Former partner Relapse Records got on board with releasing the new album, but NOTHING were not finished with their trials – just this past November, Palermo’s father unexpectedly passed away in a tragic accident, heaping the band with further personal difficulties on top of their professional ones.
Yet throughout all this, the band has always managed to maintain a unique stoicism alongside its apathy, one that extends beyond mere riffs and reverb. All the band’s music, especially Tired of Tomorrow and Guilty Of Everything, have managed to work past, present and future simultaneously into their approach, both musically and thematically. Borrowing from personal memoir and external works alike, NOTHING have worked the deepest influences of their youth & maturation into a package that’s ultimately at its most relevant in the present day. Case in point: Tired Of Tomorrow was written before the Shkreli debacle, but as Palermo sees it, those events only served to strengthen the sentiments and ideas behind Tired Of Tomorrow rather than confuse its message. It’s a mess to think about, but as always, the contradictions and paradoxes of the kind NOTHINGharnesses ultimately lead to the greatest revelations, and the band’s personal and tragic path has nonetheless led NOTHING to produce deeply heartfelt and inspiring music. Whichever way you want to look at it, you can’t deny that NOTHING feels good.


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