Cosmetic by NOTS“The second full-length statement from Memphis’ Nots, Cosmetic fearlessly attacks the rough edges between desire, deceit, appearance and reality. Not chanting down Babylon, Natalie Hoffmann screams straight into its face. In this Game Of Death, Nots run through the maze of mirrors with sledgehammers— oh, the sound of mirrors smashing—let’s smash some more! Nots are still a wild guitar band, but above and below the guitar, bass and drum pound, Alexandra Eastburn’s analog synth blurps melodies and nonsense, teasing squiggles of freedom which defy the false grid of modern life. With Hoffmann on guitar and vocals, Eastburn on synth, Charlotte Watson beating drums, and Meredith Lones steering a solid path through the chaos on bass, Nots are neither content with the smug “stare at your shoes” approach of bands from both coasts, nor an Earth-hugging “we need to get back to nature” hippie cop-out. There might not be any answers here. That might be the point. Nots have arrived at the next level of their attack with confidence and music that lays waste to the wasteland without romantic attachments.” AllMusic Review by Mark Deming: "Memphis-based foursome Nots described themselves as "weird punk" on the release of their debut album, We Are Nots, in 2014. Two years later, Nots sound a bit more ambitious and accomplished on their sophomore effort, 2016's Cosmetic, but thankfully they're no less weird than they were before. Cosmetic finds the band sounding tighter and better focused on most of these nine songs, and a few of the sharper edges in Natalie Hoffmann's guitar work have softened along the way. But the clanky report of her axe still hits hard, and keyboard player Alexandra Eastburn continues to spread waves of expressive and compelling electronic skronk all over these tunes. New bassist Meredith Lones sounds as solid and effective as her predecessor as she lays down a subsonic bottom end. And Charlotte Watson's drumming manages to sound manic and on point at the same time. The main difference between We Are Nots and Cosmetic is a matter of intensity; while the first album exploded all over the place, Cosmetic builds steadily over the course of its running time to the taut fury of "Inherently Low," the atonal menace of "Fluorescent Sunset," and the extended finale of "Entertain Me." It's hard to imagine Nots even trying to pull off a seven-minute track on the basis of We Are Nots, but "Entertain Me" is a descent into the noisy maelstrom that succeeds, and suggests the band is finding new ways to direct its attack. Cosmetic is a strong step forward for Nots that builds on their strengths and gives their weirdness some new and interesting places to go."
