The Non-Commissioned Officers

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Spoon: “The Underdog”

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The Non-Commissioned Officers: “Ahead of the Wave”
Spoon meets ELO meets awesome at the roller rink; and yep, they brought their horns. - Entertainment Weekly

following their set at the Troo Music stage at the Bonnaroo Music festival on June 10th, bassist Jonathan Brock and frontman Eric Lehning sat down with Nashville's local indepenedent radio station Lightning 100 for a quick chat about the show, the rest of the week, and the future of the band. - Lightning 100

Deconstructed zombie drama/puberty pic "Make-out With Violence" manages to feel head-scratchingly unique even as it recalls "Let the Right One In," "River's Edge," "Deadgirl" and numerous other films. Directed by the pseudonymous Deagol Brothers, the film invests in spacey horror tropes one moment, plunges into absurdist adolescent angst the next and begs questions every step of the way, but just about holds together with its strong compositional sense, killer atmospheric lighting and wall-to-wall music track. Internet buzz may propel this polarizing item beyond its Aug. 27 bow at Gotham's ReRun Gastropub Theater. - Variety

Locals The Non-Commissioned Officers just landed their tune "Evolve" in a series of Garnier Fructis commercials. "Evolve" was co-penned by Non-Comms siblings Eric and Jordan Lehning, along with local ivory-tickler Skylar Wilson. - The Nashville Scene

The Non-Commissioned Officers, or Non-Comms as they're often lovingly abbreviated, are one of the hottest acts bubbling out of Nashville right now. Ask any geologist and they'll tell you — that's hot. They've torn up the local scene, played Bonnaroo, produced and scored a feature film, and just this weekend dropped their second album, Money Looking For Thieves. Though Money Looking For Thieves is indeed their sophomore album, in many ways it's also a debut. You see, The Non-Comms have a strange origin, and before we dive into this album review, it's one worth telling. - Consequence of Sound

The Non-Commissioned Officers, or Non-Comms as they're often lovingly abbreviated, are one of the hottest acts bubbling out of Nashville right now. Ask any geologist and they'll tell you — that's hot. They've torn up the local scene, played Bonnaroo, produced and scored a feature film, and just this weekend dropped their second album, Money Looking For Thieves. Though Money Looking For Thieves is indeed their sophomore album, in many ways it's also a debut. You see, The Non-Comms have a strange origin, and before we dive into this album review, it's one worth telling. - Consequence of Sound

The Non-Commissioned Officers are going to use their synthesizers, damn it. And they'll use them to resurrect the spirit of British '80s glam pop. Money Looking for Thieves, the band's second album released March 11, sounds like the soundtrack for a Bowie-guided tour through the Labyrinth or a slick nightclub Talking Heads would have frequented. The drums are crisp and the feedback is transparent as the sextet emulates Peter Gabriel, The Smiths and occasionally The Police. - The Deli Nashville

..I don't know that the work of the Non-Commissioned Officers was initially intended to live beyond writing songs for a movie about the undead, but as the Non-Coms played live shows in Nashville over the next few years, the undeniable power of their dance-pop took hold. - The Oracle

The Non-Commissioned Officers helped kick off the 2010 Road to Bonnaroo with a big win on Monday, February 22 at the Mercy Lounge, securing the first of four slots at Bonnaroo 2010. The contest, sponsored by BMI, Mercy Lounge, Yuengling, Camping World, and the Bonnaroo Music & Arts Festival, features the best of Nashville’s indie crop vying for four spots at Bonnaroo 2010. The competition is staged during designated nights of BMI’s free 8 off 8th showcase, and a combination...[more] - BMI

This killer triple bill was originally supposed to blow up Rock Block back in January before the great Music City blizzard of 2010 forced a rescheduling. Since then, local crews the Non-Commissioned Officers and How I Became the Bomb have become the certified cream of the Nashville rock crop as the first two winners...[more] - Nashville Metromix

The night's headliners were the Non-Commissioned Officers, a dapper 6-piece that was kind of a combination of the first two bands. They had a friendly rapport with the crowd that made the set a lot of fun. It was good to see a band that didn't take themselves too seriously, but still played quality music. This approach made them strike me as the Mile 8 of the hipster scene. Their songs were powerful but refreshingly short, ending right when you would expect another verse and chorus. I like this concept, leaving them wanting more instead of going on like a bad SNL sketch that needed to end four minutes ago. Also, this is a great way to jam a boatload of songs into a 45 minute set. A funny moment came a few seconds into the last songs of the night when one guitar player stopped the song completely insisting that "one of these bastards needs to tune", only to find that he was the one that was horribly off key. It was another example of their light-hearted attitude mixed with their knock out rock assault. - Raul Kemp

The quintessential requirement when evaluating something of this volume is to hearken back to classic soundtrack albums to find the consistent well those compositions drew from. Two immediates come to mind in Rocky Horror and Pulp Fiction, and the easily discernible current that runs through those is the sonic attachment to American cinematic origins. Moviegoers easily connect to the conceptual images of drive-ins, Peggy Sue, and poodle skirts. One walk-through of the album roundly bursts this centrally important motif into listeners’ ears. The real gift in late March, however, is when the few in-the-know listeners will get to hear how this sucker transcends cliched and stereotypical soundtrack conventions to also create a completely viable and stand alone indie pop/rock album full of modern experimentation. This album reads more like a grand epic narrative; it’s warm yet extravagant, ambitious as hell. The tracks range from bouncy brit-pop to sludgy indie fuzz and back again numerous times, leaving very few genres under-explored and launching it way past traditional soundtrack ethos. - Citizen Dick