Do Nothing - ‘Glueland’ EP review: a measured, expansive second outing

Nottingham four-piece Do Nothing cut through a crowded post-punk market last year with their gut-punching debut EP ‘Zero Dollar Bill’. The anxiety-laced statement was a venting companion through troublesome times, packed with grizzled and groove-filled guitar bangers – but little has changed in their world since.

The band – like everyone else – remain grounded for now, though new live dates are slated for the band this coming September and October. Where the band could have driven home the sounds of their first EP with another frenetic collection, the missing live element has enabled them to expand more freely in the studio on their second collection, ‘Glueland’.

This time, the lo-fi sprawling jams feel more pensive and poised. The pulsing looped synth of the title track suggests that they’re entering new territory into new grounds, though the stinging snarl of frontman Chris Bailey remains: “There’s something weird going on out there man“, he drawls.

In addition to crafting affecting and somewhat discordant soundscapes, they remain skilled at stirring up deeply impacting sadness in moments ripe for the human touch. ‘Uber Alles’, a reflective example, grows from a jittery jam into a stirring low-key anthem, with Bailey’s lyricism both jarring and colourful: “How come tomorrow’s always shining like a swordfish? If you ever really lovеd me, why’d you stab me in the back?”

While dodging lockdown experiences face on it does an ample job dredging up the familiar feelings of weariness and unease: ‘Rolex’ simmers with attitude, as we meet seedy characters like ‘Screaming Blue Bill’ and ‘The Malborough Man’. Their playfulness remains present with the likes of ‘Knives’ where they seamlessly combine bright guitar lines with that sleazy deadpan delivery.

They dare not attempt to match their first EP’s adrenaline rush – what would be the point? – but this is a decisive step forward in the band’s evolution. They remain committed to their sometimes sleazy, acerbic musical identity but flirt with new angles both lyrically and sonically; a reclined and assured follow-up that oozes their lovable dark traits and shows no threat of getting caught up in the pack.