TuneLab Music - Everything Rock

Posted: January 8th, 2008
Contributed By: Nick

	Purchase @ iTunes Release Date: December 4th, 2007 via Corporate Punishment
	Never Enough is: Norman Matthew (Vocals/Guitar/Programming) Keith Barney (Vocals/Guitar/Programming) Trevor Friedrich (Drums/Programming)

Overview: Trevor Friedrich had no time to wait around for the ashes to settle after the spring 2007 break-up of his previous band, Eighteen Visions. Teaming up with cronies Norman Matthew and Keith Barney, Friedrich and tandem became Never Enough, seemingly no more than mere weeks after the Eighteen Visions split. The trio rolled out their spankin’ new audio arsenal soon thereafter, and the initial tracks caught the attention of Corporate Punishment Records, who snatched Never Enough into their roster as quickly as they formed. The band wasted no time in compiling their premier release for said label, and their eponymous, 10-song album hit the digital markets in late November, with the arrival of the tangible disc in stores a few weeks later.

The Good: For those of you expecting to hear Eighteen Visions part deux, you might be in for a bit of a surprise, as Never Enough’s debut affair is a creative and expressive down-tuned, synth-driven stomp in the mud that would leave Gravity Kills salivating; never fear Eighteen Visions fans, for Never Enough has taken the dark, brooding backdrop that comprised the last 18V record and applied it to their bondage-ready behemoth of an album. “The Craving” kicks things off, a haunting and enveloping tryst that acts as a sort of “calm before the storm”, because the ensuing tune, the hard-hitting and brooding “To the Bottom” really sets the tone for the remainder of the ride. “The Devil I Am” glistens Static-X inspired electronics, which aid its already spooky, trance-reminiscent disposition. “On Sunday” opens with a documented testimony concerning the pitfalls of contemporary religious practices, a tongue-in-cheek segue into the song’s sludgy verses, which couple exquisitely with its radiant choruses. “Poison Heart” is grungy and majestic, and serves as one of the vocal zeniths of ‘Never Enough‘, and the guys take Marilyn Manson and plop him on an 80’s synth-pop compilation with “Where the Rain”, a robust tune peppered with raunchy industrial styles. Ok, so you wanted some Eighteen Visions, and Eighteen Visions you will get with the driving and slyly aggressive “No One Cares”, which sounds as if James Hart himself is singing at certain moments. Yes, the song “Shout” is the all too familiar, all too tread upon Tears for Fears cover, but leave it to Never Enough to take a song rehashed to the bone and turn it into their own; Never Enough’s “Shout” is the most detail oriented and punchy rendition of the song to date. “Release” closes ‘Never Enough‘ in cliffhanging fashion, as the song’s gentle and ethereal flow is a mature, succinct way to seal the deal and make listeners cry out for more. The true pinnacle of ‘Never Enough‘ is achieved in “Hush”, a sprightly and poignant cut that stands on its own, as one listen will leave the song embedded in your senses.

The Bad: ‘Never Enough‘ tackle a tough genre, in my opinion, in attempting to sound inspired and unique. While the band succeeds in breaking away from the vast majority of their peers, there just feels like a blanket has been thrown overtop the album, cutting off many of the songs before they can truly achieve the high ceiling that many of them do possess. Sure, many of the album’s tunes are far more focused on melody and well-orchestrated embellishments than many discs of a similar ilk, but a bulk of them seem to go in circles, failing to grow on the muscle laid down in the early portion of each track. The biggest barrier between Never Enough and a breakthrough is simply notoriety. ‘Never Enough‘ may sound professional and well-versed, but it will take much more for a band like Never Enough to prove that they are worthy of receiving the praise and acclaim handed to acts such as Nine Inch Nails, Marilyn Manson, Gravity Kills, and, at some points, Dope.

Bottomline: Put ‘Never Enough‘ in the disgustingly oversaturated modern rock bracket, and you’ve got one of the most wholesome breaths of fresh air to grace the scene in a long time. Put the album in the stereo of an aficionado of previously said bands, and ‘Never Enough‘ becomes another walk in the park. I have to admit, Never Enough kicks much harder than any recent NIN or Manson album, and for that I highly suggest you check them out. The band knows exactly the path it wants to take and clearly defines those boundaries on their first effort, allowing the music to sound extremely tight-knit and stripping the songs of any chance of falling by the wayside as bland. ‘Never Enough‘ is an album for fans across the board, so when you’re done with “Heart-Shaped Glasses” and you’re craving “The Perfect Drug”, Never Enough’s debut album is, best put, “Guilty”; on a random side note, they carve all their songs in leet speak, netting them 10 xtra k00l pts.

Rating: 8 out of 10