Creeping Nobodies

One question you often hear muttered around Toronto is "when will the Creeping Nobodies make it big already?” They’ve been around for ages, changed their roster countless times, and recorded a great record (Stop Movement Stop Loss, to which this is a follow-up), yet nobody outside of the GTA seems to have caught on. Should we stop hoping, and start getting smug that we’ve got a great band up our sleeves the rest of the world has yet to hear? That’s just selfish. With an upcoming full-length, an ever-improving live show, and the addition of keyboard/vocalist/nubile young babe Sarah Richardson, maybe we can stop muttering. Half-Saboteur is kind of a sampler, showcasing the slight change in direction that the band have made since the release of their last full-length, but it stands on its own too. The Nobodies are frequently compared to the Fall, but there is nothing lackadaisical about Derek Westerholm’s delivery (he’s like Mr-respectable-from-the-office on PCP), and Mark E. Smith certainly never sounded like Richardson. Their sound is dark, convoluted, intense (to the extent where it can frequently make a listener uncomfortable, in a good way) and brash — Half-Saboteur in particular sounds like a song-ier (you know what I mean) DNA, or the Ex without politics. Released as a vinyl twelve-inch, it’s well worth picking up — if all goes according to plan, it might be worth something one day.