No Use for a Name

Ever since coming straight outta Southern California a good 15 years ago, No Use for a Name have asserted their legendary status amongst other such notables as Bad Religion and NOFX for their aggressive, melody-driven approach to punk rock. Creating what some call the “West Coast Sound,” these groups helped make punk accessible to the mainstream, but they never forgot where its true heart lay: stickin’ it to the man. Synthesis recently spoke to singer/guitarist Tony Sly about his take on the shape of punk rock, coming up with a new album and dealing with both the bad and the good in the world.



How do you feel about the current state of punk rock in general?

What is punk is definitely an opinion. I think that’s based on standards of what people are calling punk—you know, bands like My Chemical Romance, or a lot of bands that are on major labels. In my opinion that’s not really punk. If punk’s alive anywhere, it’s in the smaller shows with the bands that are still hungry. It’s hard, kids will be more susceptible to the punk that’s on the radio or on MTV because that’s more acceptable and it’s kind of blockade for other bands.



Writing-wise, what went into your new album Keep Them Confused? You had a new baby and then there was the re-election of George W. Bush, how did that influence the songs?



There’s a lot of difference between the two subjects, and those were the biggest things going on in my life. It definitely reflected on the lyrics. There’s a socio-political vibe to at least three or four songs. It makes you start to think about how you’re headlocked into this administration and this war, it’s not even your choice, it’s just there. Some of the lyrics can be quite depressing at times, but there’s a song about my daughter, and it’s a little more positive. I think the lyrics are more personal, yet also more global.



There are only so many power chords and so many melodies you can use. Do you ever find yourself struggling to write songs?

I try not to think that way because then you kind of pigeonhole yourself. What I do now is listen to anything to get influenced as long as it’s good. I think it’s more of how the songs are structured. It seems you’re only permitted to do so many drum beats, and the chords definitely fall into place, and you have to transpose it. That happens a lot and I’m pretty conscious of it, and on this album I tried not to do it, but it does get harder. But at the same time it’s what I love doing and it’s pretty free flowing, so I’ll come up with something and maybe the band will tweak it.



You guys have been doing this for more than a decade, what makes it so special that you keep on keeping on?



Most importantly, I think it’s the people that listen to it. Not that we feel like we owe anybody anything, but I think we feel like we’re a part of this big group. They find out where you’re playing, they find out where your records are sold, we just share something in common. It’s that and being able to get along with three other people and the fact that we’re still interested in writing good records and good songs. We’re not burnt out on that. 

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