They’ve opened for The Offspring, Mayday Parade, and Hawthorne Heights. They played on Van’s Warped Tour, appeared at Cleveland Music Festival, and have been profiled in Alternative Press Magazine. Now One Day’s Notice can brag over the release of their first full-length album.
Coming on the heels of last year’s That’s What She Said EP, When Dinosaurs Get Drunk is captures the Cleveland five-piece in peak form with a dozen cuts that distill the band’s infectious pop rock through a cartoon-punk filter. Alterative rock fans and ska-core devotees of acts like Goldfinger, Juicehead, Sum 41, and Pepper will appreciate One Day’s caffeinated, up-tempo guitar chops and tongue-in-cheek M.O. Lyrically, Dinosaurs scours standard boy-meets-girl, girl-psyches-boy territory—but there are also moments where singer Chris Bassitt and company wax nostalgic, keeping straight faces while pining for home or reflecting on love lost.
Smartass breakup song “Ha-Ha” establishes tones and themes recurring throughout the album, with Bassitt slipping into the sneakers of a jaded lover who realizes his current relationship is toxic but can’t seem to jettison his poisonous partner.
“It’s confidential, but your love is detrimental,” he pronounces. “I shouldn’t be here with you.”
Tandem guitarists David Vallo and Jesea Lee charge “Liar” with an ‘80s rock riff as Bassitt thrusts an accusatory finger at another paramour who has trouble being candid. “Bye-Bye Crazy” is a power chord kiss-off whose slashing rhythm guitars sets nicely against the band’s stuttering chorus-by-committee: B-b-bye, bye! “Gotta Get Away” reveals the Top 40 vocal potential as he denounces yet another girlfriend’s self-righteousness. Bassist Justin Albaugh winds an elastic groove around drummer Phil Evans, Jr.’s percolated percussion while Lee and Vallo slash away (or execute pick-slides and pinch-harmonics) on their guitars.
Lest listeners presume One Day’s Notice are a secret misogynist musical enclave comprised of former He-Man Woman Haters, Bassitt’s brooding narrator accepts blame for botching a good thing on “Finish What I Started.” With the buzzing guitars panned hard left and the rhythm section channeled stereo right, the singer surmises how much he misses his Ex (even if she cut him to shreds) and what he could’ve done differently:
“I’m like an athlete who’s in the wrong sport,” Bassistt deadpans. “Every day I’m coming up short.”
“She Never Stops” celebrates a lover’s unbridled enthusiasm—both emotional and physical—at all hours of the day (from coffee break to happy hour). Bassitt claims he doesn’t like to kiss and tell when it comes to his devil-horned angel but relents to the crunching guitar progression and dervish drums surrounding him with a shrug and a smile: “What the hell,” he figures. The punchy, off-kilter “Girls Are All the Same” ostensibly writes females off as ubiquitously problematic, but closer inspection reveals Bassitt’s message as chest-puffing bravado from a dude hopelessly infatuated with someone but ill-equipped to “play the game.” It credits the ladies with the advantage where affairs of the heart are concerned; we weak-kneed boys are just “deer in [your] headlights.”
The five-piece get serious (but not quite somber) on the nostalgic “Coming Home,” a Bic lighter power ballad wherein Bassitt ponders how our spirits continue haunting our former places of residence. “No matter where I live and breathe, this place has got a piece of me,” he sings, accompanied by pretty piano and arpeggiated guitar notes that put a lump-in-the-throat. The acoustic-based “Little Things” finds the band reflecting on why people rarely seem satisfied with what’s right in front of them. “Time Won’t Stand Still” is an energetic, Police and Blink 182-inspired zinger wherein Bassitt’s self-doubting Romeo finally determines to invest in something permanent:
“I want to set up shop, want you to be my final stop,” proposes his turbocharged, spiritualized procrastinator.
Elsewhere, One Day’s Notice find a solid ground between straight-laced and shit-faced. “Passenger” relies on tag-team call-and-response vocals and Evans’ sibilant tch-tch cymbal work for a tune about a guy wresting control of his fate from a lover. It’s not that our hero wants to call it quits and make for an alternate destination. It’s just that wherever they’re heading, he wants a turn at the wheel.
“I’ve got you where I want you now,” he beams.
Bass-driven “Call the Cops” is a fist-pumping homage to the recklessness youth, a cacophonous chronicle of a teenager-hood spent sleeping in late and staying out all night hopping fences and drinking in parking lots.
Produced by Northeast Ohio studio guru Ben Schigel (Switched) with Jim Wirt (Incubus), When Dinosaurs Get Drunk is a bravura outing from a group of guys with a firm understanding of the pop-punk ethic. They know music is supposed to be fun and that they wouldn’t be able to pull off the shoe-gaze mope thing with much conviction. It sounds like they had fun on Dinosaurs by just playing the music they want to play, edifying themselves first—which results in a wonderfully contagious kind of joy.
One Day’s Notice plays the Rock ‘n Roll Marathon Series on October 6th. The charity race / walk begins at the Rock Hall on E. 9th and features live music at various stops along the route to the Superior / W. 3rd finish line. More info at the link below.