Never Heard of It: Pop-Punk that Makes Sense

Daniel Galleno

When most people think about punk music, they think about the Ramones, the Sex Pistols, the Clash, the Dead Kennedys, Black Flag, Social Distortion, and a number of other punk bands that kept their music simple, their attitude raw, and were always focused on two very important sources of inspiration: social injustice and the fans. It was music born in the mid-'70s, with an underground following and an anti-everything message that was right for the moment. The energy of the music was contagious, its simplicity was rebellious, and the influence of the movement has been far greater than any of its creators could have imagined. Punk music has found its way through the '90s and into the 21st century and has picked up quite a following over the years. However, it did not arrive here without a few changes.

A younger generation of fans has been introduced to a new version of punk music. This version makes lots of money, pumps out tons of bands, puts on large tours, and fills arenas all over the world. In this sense, it is decidedly un-punk. There are still a number of popular punk bands today playing anti-government music, calling attention to problems in third-world countries, and speaking their minds about wars waged for economic and political gain; some of the old guard is still around. You can still go see a great punk band in a small venue, with your hand on the stage, your back against the wall, and your fist in the air. The major change has come with punk's mainstream acceptance. The differences here are that the stage is larger, the audience is younger, and the genre lines have been blurred; things have gotten a little more complicated.

Punk music without a political agenda or any direct social commentary really can't be punk music, can it? And for that matter, pop music—music that is defined by professional studio production and songwriting, and crisp song arrangement—really doesn't fit with a genre defined by simple melodies, three-cord song composition, and a rebellion against everything professional and structured about the mainstream music world. However, despite the complete disagreement between these two genres, they have somehow been joined to form a new and very popular form of music. It is the great anomaly of the punk movement and it can't be ignored. But a young band from Southern California called Never Heard of It just might help you make sense of the whole thing.

The band's second full-length release, entitled Limited Edition, proves that pop-punk might just be the perfect descriptor for a band that combines punk's musical simplicity and attitude with a pop feel and influence that would never have survived the hardcore scene. The band's lyrics and songs are a diary of American adolescence. In its own way, this diary is a social commentary. It might not stretch far from its authors' front doors or even their neighborhood, but it makes sense for a generation that grew up with a decent economy and little fear of large-scale war. This is not to say that they are indifferent to global problems; it just makes sense to write about girlfriends, feelings of loneliness, hanging out with friends, and growing up in suburban America because that is what they experienced, and these experiences ultimately prepare them to deal with growing older and acquiring greater responsibility. "Alone," which opens the album with a powerful guitar intro and makes reference to the band's beginnings as a Screeching Weasel cover group, takes the listener through the highs and lows of meeting a girl, hooking up with her, and then losing her because you screwed up. The girlfriend issue surfaces again in "Veronica," where you relive a moment of struggle, but know it will only really last so long. But the biggest inspiration for lyrics seems to come in the form of confusion. What do you do when the world is telling you to be one kind of person and have one kind of future, but you want to hang out, play music, and be young for as long as possible? "Up All Night" and "Satisfied" are filled with lyrics such as, "I'm waiting for the day to find answers to my troubles," and "My mind is so deep in thought I weep." In these songs, one sees the documented struggles of a person coming to grips with himself and his relationships to those around him.

Limited Edition is filled with this kind of personal exploration—backed repeatedly by punk-inspired guitar riffs, drum beats and lyrical style—and it showcases the kinds of disappointments and experiences that define who we become and how we deal with the larger issues we will eventually face. The album is a perfect example of the pop-punk style: it is everything mainstream pop should be, but always wants to hold on to the punk attitude. Teenagers are inherently rebellious, simplistic in their style, and at least concerned about the future, even if it is only measured by what's happening tomorrow.

There is something else very punk about this band. DJ Dell'osa (Vocals), Jeff Anenberg (Guitar), Johnny Brittain (Bass) and Mike Ciorlieri (Drums) are a hard-working bunch. Carrying the distinction of being the only unsigned band to play every date on the Vans Warped Tour, Never Heard of It has crossed the country numerous times, slept in their van, slept on floors, and woken up early just to meet current fans, make new fans, and play them some music. You can find NHOI's latest album in music stores across the country, but they released it themselves and have probably sold more copies walking the streets and talking to people before a show than any Soundscan numbers will reveal. For them, the music and the fans are the real reason to do what they do. For a group of high school friends who just wanted to play backyard parties, everything to date has already been a success.