Album Review: Nick Oliveri — N.O. Hits At All Vol. 8 & 9

Two anticipated volumes of high-octane music

Nick Oliveri’s latest installments are exactly what fans ordered, and N.O. Hits At All Vol. 8 & 9 are a forceful reminder of what he’s got in store for listeners. Vol. 8 has tracks such as “Chains and Shackles,” a welcome descent into a fast-tempo album with more than a few gnarled undertones. The track also features Slash, so expect plenty of unparalleled guitar playing. Dynamic vocals perfectly complement the album’s aggressive sound, and “Truth Is Stranger Than Fiction” opens with enough acoustic guitar to challenge what listeners expect. The vocals quickly tie the track together and, although there’s no percussion, the song works nonetheless. 

The entire album is raw and offers a glimpse into the artistry that is music and lyricism. Although some lyrics are overtly explicit, that’s the beauty of art: it’s meant to entertain and express, with a guttural cover of G.G. Allin’s “Outlaw Scumfuc” being a prime example. The song’s vocals and lyrics are both equally aggressive, siphoning attention.

Oliveri’s Vol. 9 is equally hostile, with the vocals and instrumentals working perfectly in tandem. Tracks such as “Blast Off” continue to hold a relentless pace, the vocals often haphazard but gritty and intentional. There’s no denying the angst that curated both volumes while confrontational, obscene lyrics represent the no-holds-barred pace Oliveri sets. 

“Conspiracy (Fact or Theory)” relaxes its pace, but its vocals are unabated just the same. Oliveri has an impressive command over his vocal stylings, knowing which words require more poignancy than others, acting as a sort of beat poet. Although tracks such as “Consider Me” feel like a reprieve from the album’s otherwise uninterrupted thrashing, the lyrics and vocals remind listeners otherwise. But what sets the track apart is that the late Mark Lanegan wrote it. Although both volumes are seemingly nebulous concepts, a thread connects each track; a central theme of art born in aggression, with “Take Aim” being a perfect example of songs that refuse to pull their punches.