the Nervous return
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the Nervous return

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Music

The best kept secret in music

Press


"Kerrang!"

Warped Pop Genius from Los Angeles...Indeed 'Headshots' is a flashing Day-Glo explosion of twisted pop intellect that manages to challenge without ever losing sight of an infectious and melodic hook. This is mid-'70s glam rock excess colliding with razor-sharp post-punk noise. And it's great." [KKKK] - James Sherry


"Blender"

Los Angeles art-punk, courtesy of blink-182 drummer's new boutique label: Travis Barker is the guy in blink-182 who doesn't ask you to pull his finger. Quiet and severe, he's their mohawked straight man, and by signing this foursome to his boutique label, Barker confirms he's got more than pop-punk on the brain. Led by Jason Muller -- part singer, part drunken wailer -- Nervous Return make twitchy rock indebted to '80s hipness. "Dramahead" flirts with new wave while "Siberian Queer" evokes no-wave noise. The guitars -- pining, sailing jabbing and carving -- are pure Pixies, an influence repeated in the seedy, sex-laced lyrics. The songs are about meds, S&M, horny 9-to-5ers in midlife crises, and a self-hating homosexual who jerks off Tom Cruise. Download These: "Dramahead," "Murder Weapon" - Jonah Weiner


"LA Weekly"

Nominated for the 2005 LA Weekly award for Best Punk Band

one delirious musical Cuisinart. There’s not a bad song on the record, and the group’s passionate live performances tie up the split enz in a pretty convincing package. - Liam Gowing


"Chord Magazine"

Travis Barker has started his own record label, and may one day regret signing a better band than his own. Not to disparage that man's obvious talent and success, but it's good to know that while Blink makes millions of dollars by entertaining legions of eighth-graders with sticky-sweet power pop, Mr. Barker still knows what superior music sounds like. The Nervous Return skillfully combines the best elements of glam, punk, pop, discordant psychedelia, and other elements that don't have names yet. If commercial radio stations are paying attention to what the people want, they will pull their collective heads out of their wealthy, boring asses and put this CD on heavy, daily rotation. Every song on this ten song full-length album has obvious hit potential. Simultaneously rude yet appealing, beautiful then ugly, taught and relaxing, deep while being shallow, serious but mad, these four gifted artistes make a greatly impressive noise. Go buy this right now, and if you don't like it, consider yourself stupid. - Marcus Solomon


"Flaunt"

[the Nervous return] synthesize glam, pop, synth, punk, and post-punk influences to create a full length LP built on sharp technicolor riffs and quirky lyrics of amusing despondence ...their own frog-eyed vision of the vapid Hollywood identity machine in tales of fast and false living, packaged with whimsical moral bankrupcy ...Some songs have a nostalgic familiarity, almost like '80s "Let's Dance" era David Bowie fronting the Talking Heads. But song lyrics strike rich when speaking on the mental duress of living in a sprawling metropolis of endless synthetic pleasures. - Andrew Pogany


Discography

wake up dead (La Salle/Atlantic Records 2004)
3 Songs (Mootron Records 2003)
Headshots [Europe] (Nois-o-lution 2003)
Headshots (Mootron Records 2002)
twig EP (Psychic Noise Records 2001)

Photos

Feeling a bit camera shy

Bio

the Nervous return’s music and live shows are threatening and electrifying, making you laugh, turning you on and pissing you off, sometimes all within one song. This music is the sound of defiled Hollywood hallucinations, channeling the feral aggression of Iggy’s Detroit, the romantic melancholy of post-punk London, and Bowie’s darkest glam fantasies.

Formed in the spring of 2000 by Jason Muller (guitar/vocals), Anthony Crouse (bass/vocals) and Greg Gordon (drums), the Nervous return (then known as twig) quickly recorded their eponymous five-song EP on their own Psychic Noise Records. the Nervous return toured relentlessly across the West Coast, establishing their reputation for putting on electrifying, high energy, live shows.

In the summer of 2002, the Nervous return released their full length follow-up HEADSHOTS on Mootron Records, the indie rock/pop brainchild of Courtney Holt (Interscope Geffen A&M Records) and Mickey P (famed producer and remixer for such acts as Beck, The Cult, Eels, Rage Against the Machine, Luscious Jackson, and Ladytron). Mootron’s other artists include big Sir, Old Hickory, Sissy Bar, Campfire Girls and The 88.

the Nervous return “synthesize glam, pop, synth, punk, and post-punk influences to create a full length LP built on sharp technicolor riffs and quirky lyrics of amusing despondence” (Andrew Pogany - FLAUNT Magazine) creating "one delirious musical Cuisinart.” Said Liam Gowing in the LA Weekly “There’s not a bad song on the record, and the group’s passionate live performances tie up the split enz in a pretty convincing package." The controversial cover art of the U.S.A. version of the past HEADSHOTS album, coupled with the lyrics and intense music was conceived to comment on the illusion of Hollywood excess, the search for fame and fortune, and the depression that often occurs when those fantasies go unrealized. The cover is an actress’ headshot, the liner notes resemble her resume and the back represents her distorted vision of the Hollywood illusion.

The addition of guitarist Shane Gallagher synchronized with the immediate success of the European release of HEADSHOTS on one of Germany’s most credible independent rock labels Nois-o-lution records set the stage for the band's path to infamy overseas. The international tastemaker publication Kerrang! gave HEADSHOTS "4 Ks" calling it "a flashing Day-Glo explosion of twisted pop intellect that manages to challenge without ever losing sight of an infectious and melodic hook." Germany's Visions also ranked HEADSHOTS above albums such as one of Apple Music's #1 downloads Fountains of Wayne's "Welcome Interstate Managers" on their Soundcheck album review chart.

the Nervous return is about music and performance, sharing bills with such diverse bands as the the New York City based “art-noise” architects Black Dice (DFA Records), the pop-punk veterans Blink-182 (Geffen Records), and the indie-pop poets Imperial Teen (Merge Records). Stunning live shows coupled with the national and international releases of HEADSHOTS have placed the Nervous return on the CMJ top 200 as well as consistent play on commercial radio shows such as KROQ's “Rodney on the ROQ”, San Diego’s “the Lab” on 91X and multiple live performances on Los Angeles' college radio station KXLU. The high circulation music industry trade magazine HITS even noticed the band early, describing the Nervous return as one of their favorite Los Angeles Bands: “they put on an air-tight, mesmerizing set with their signature quirk-pop jams (“Dramahead" is a ready-made gem)” With the support of the Los Angeles music and art community around them and the band's debut release titled "Wake Up Dead" for La Salle/Atlantic records, the Nervous return has solidified into one of the most mesmerizing and interesting bands in music today.