Atlanta Indie Rockers Blis. Crafted The Perfect Debut With ‘No One Loves You’

10.06.17 2 months ago

Elena De Soto

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Debut albums are rarely fully-formed. Rather, they tend to act as a foundation upon which an artist can work on their craft and achieve their vision. It is for this reason that No One Loves You, the debut album from Atlanta’s Blis. is all the more impressive: The record is immensely confident and immediately flooring upon the first listen, blurring the boundaries of emo, shoegaze, and even post-hardcore.

Perhaps well-roundedness can be attributed to the timespan within which the songs were written, some were penned up to three years ago and others coming about just before the band entered the studio. Although Blis. has existed in some capacity frontman Aaron Gossett graduated high school, the full lineup of the band — which now includes Gossett, drummer Jimi Ingman, bassist Luke Jones, guitarist Josiah Smith — formed less than five years ago. Having a length of years between the oldest and most recent songs on No One Loves You allowed the band to really refine the sound they were going for, while consulting an incredibly wide range of musical influences for the record, from Nine Inch Nails to Pedro The Lion to Brand New.

The record opens with “Dumb,” a track that shows the band’s mastery of the loud-soft dynamic, with Gossett’s whispered vocals turning quickly to impassioned wails that sound completely unique. “Dumb” sets the scene for eleven tracks that show a range of sounds that could seem inconceivable to a band releasing their first full-length record. Remarkably, Blis. makes it seem natural.

Take, for example, the album’s fourth track, the interlude “Servant,” a short and absolutely breathtaking ambient number sandwiched between two of the record’s loudest tracks. It’s not very often that a debut album would experiment this heavily with a sound so different than the track both before and after. “It’s nice because it’s very vulnerable between the two songs,” frontman Aaron Gossett said over the phone. “It’s that kind of calm to just take your mind out of the last song, and then it was a nice-length transition between the two.”

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