To be clear, there are absolute jams here, stark reminders or strong introductions to Nance's ancient power. “Mock the Hours” comes out of the gates like an Allman-powered anthem, Kevin Donahue's drums beating the shit out of Nance's crosscut riff. Screaming from the underfunded fringes of rock for extended performances, Nance sounds like the leader of some mid-'90s alt-rock band whose local success somehow made it big. It's an inescapable tune, its sharp hook set by piano that hits like fingers in the ribs. “Credit Line” pulls a similar trick, its austere lick seemingly imported duty-free from some Mississippi dive. It punctuates Nance's lament perfectly. The compulsive mantra of “Cure Vs. Disease', the winking chorus of 'Side Eyed Sam', the rhythmic moan of 'Cut It Off': There's no doubt about Tired sound that Nance can write and lead a tune. Each song is a crossroad of experimental rock iconic, dark, and everything in between—ZZ Top to Otha Turner, John Lee Hooker to Little Feat. Here is Nance's record collection as a potent distillate.
It was recorded by Nance's longtime accomplice James Schroeder Tired sound in spurts that spanned almost 18 months, meaning the band wasn't relegated to a luxury studio staffed by their bonafide new label. It does happen, though, sometimes look So, with shows always stalling with no escape velocity, as if afraid to step out of some imaginary radio land. The lick and groove of “Side Eyed Sam” sounds destined for infinite repetition and variation, but the band fades after three minutes. The smoke clears just when you think you see the fire. “Credit Line,” likewise, sets up a playground for Nance and Schroeder's tangled guitars, but they squeeze in a few terse duets before drifting away. This take is referred to as “Variation #5” and Nance roared through a powerful live version recorded and released in late 2022. As with half the great songs on Tired soundit's hard not to hear what's half-there and think, “Please, go on.”
The eccentricity is, instead, cornered this time around – riding on cymbals that land like little earthquakes during “No Taste Tart Enough”, for example, or the short and ecstatic film track, “Molly's Loop”. Nance includes two country ballads here, collaborating with Pearl Lovejoy-Boyd to bring to mind Parsons and Emmylou Harris in Sad Angel for 'Tumbleweed' and closes with the southern exiled torment of 'In Orlando'. These are exquisite and aching songs, suggesting that Nance has found another avenue to explore. But up Tired soundthese anomalies squander momentum and take up space where this band could and should have opened up, taking these open-ended songs on extended jaunts across the Nebraska lowlands.
