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Self Entitled
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| Self Entitled | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | September 11, 2012 | |||
| Recorded | April 12–30, 2012 | |||
| Studio | The Blasting Room in Fort Collins, Colorado | |||
| Genres | ||||
| Length | 29:47 | |||
| Label | Fat Wreck Chords | |||
| Producer | Bill Stevenson | |||
| NOFX chronology | ||||
| ||||
| Singles from Self Entitled | ||||
Self Entitled is the twelfth studio album by the American punk rock band NOFX. It was released on September 11, 2012 through Fat Wreck Chords.[3][4][5]
Background and production
[edit]The album took more than a year to materialize. Vocalist and bassist Fat Mike revealed to The Daily Times in January 2011 that a follow-up to Coaster was in production, explaining "There are some really good songs on Coaster, but after having written 300 songs, I feel lucky I came up with them. That's why there are songs on there about Iron Maiden and Tegan and Sara. I'm reaching, man. Sometimes I grab stuff just to grab stuff, and I'm going in a lot of different directions."[6] In December of that year, Fat Mike revealed to Phoenix New Times that he had begun work on a new NOFX album and a soundtrack to a "fetish film" called Rubber Bordello.[7]
On February 14, 2012, Fat Mike revealed to Rolling Stone that NOFX was going to begin recording their twelfth studio album in April and added, "I've got 12 songs, but I don't have a name for it and only a few of the songs are finished. We're demo-ing it right now."[8] On April 12, he posted a message on his Twitter page saying that the band was back in the studio with Bill Stevenson, who produced Wolves in Wolves' Clothing and Coaster.[9] The recording process of Self Entitled was finished in two and a half weeks[10] and it was eventually announced that NOFX would release the album internationally on September 10, 2012[11] and in the United States on the following day.[12]
In an interview with Punknews.org in October 2012, Fat Mike said that they had recorded 18 songs, but only 12 made the album.[13]
Singles
[edit]The album was preceded by two singles which were released on 7" and available digitally exclusively at Fat Wreck's site. The first, "My Stepdad's a Cop and My Stepmom's a Domme", was released on June 19, 2012. It was recorded prior to the album and featured the non-album title track and a different recording of "She Didn't Lose Her Baby". The second, "Ronnie and Mags", was released on August 14, 2012 and featured the album version of the title track and a demo version of "I Believe in Goddess".
Reception
[edit]| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 68/100[14] |
| Review scores | |
| Source | Rating |
| AbsolutePunk | (84%)[15] |
| AllMusic |   [16] |
| Alternative Press | [17] |
| Consequence of Sound | [18] |
| Kerrang! | [14] |
| Popmatters | [19] |
| Punknews.org |  [20] |
| Sputnikmusic | 3.5/5[21] |
Critical response to Self Entitled has been mixed. Fred Thomas of Allmusic gave it a middling review saying, "There's nothing outstanding here but fans of the band will have no complaints, and for newcomers it's as good a starting point as any, with arguably the same ratio of clever understated brilliance to uninspired mediocrity as any other phase of their discography." On the other hand, Jason Gardner of Absolute Punk gave the album a highly positive review stating that "NOFX take a crack at pressing matters both inwards and outwards, succeeding in not only making a seamless expression of both sides but cranking out some truly memorable jams to boot."
Track listing
[edit]All tracks are written by Fat Mike (except "Cell Out", written by Fat Mike and Eric Melvin).
| No. | Title | Length |
|---|---|---|
| 1. | "72 Hookers" | 3:36 |
| 2. | "I Believe in Goddess" | 1:34 |
| 3. | "Ronnie & Mags" | 2:09 |
| 4. | "She Didn't Lose Her Baby" | 2:56 |
| 5. | "Secret Society" | 2:53 |
| 6. | "I, Fatty" | 1:36 |
| 7. | "Cell Out" | 2:02 |
| 8. | "Down with the Ship" | 2:23 |
| 9. | "My Sycophant Others" | 2:46 |
| 10. | "This Machine Is 4" | 2:07 |
| 11. | "I've Got One Jealous Again, Again" | 3:02 |
| 12. | "Xmas Has Been X'ed" | 2:43 |
| Total length: | 29:47 | |
Personnel
[edit]NOFX
- Fat Mike – lead vocals, bass
- Eric Melvin – rhythm guitar, backing vocals
- El Hefe – lead guitar, vocals
- Erik Sandin – drums, percussion
Additional Musicians
- Spike Slawson – some backing vocals
- Mike Powell – keyboards
Production
- Bill Stevenson – producer
Engineers
References
[edit]- ^ "NOFX — Ronnie & Mags (Fat Wreck Chords)". Punknews.org. Retrieved July 19, 2012.
- ^ "NOFX — Xmas Has Been X'ed (Fat Wreck Chords)". Fat Wreck Chords. Retrieved November 22, 2012.
- ^ "NOFX reveal 'Self Entitled'". Punknews.org. July 19, 2012. Retrieved July 19, 2012.
- ^ "NOFX's new album named 'Self-Entitled'; pre-order live now". Alternative Press. July 19, 2012. Retrieved July 19, 2012.
- ^ "NOFX Announce New Album "Self Entitled"". Alter the Press!. July 19, 2012. Retrieved July 19, 2012.
- ^ "The Daily Times – NOFX still living the punk rock life after all these years". Thedailytimes.com. January 27, 2011. Retrieved July 19, 2012.
{{cite web}}: CS1 maint: deprecated archival service (link) - ^ "NOFX's Fat Mike on Cokie the Clown, Drinking, and Occupy Wall Street". blogs.phoenixnewtimes.com. December 26, 2011. Retrieved July 19, 2012.
- ^ "Listen: Fat Mike and Dustin Lanker's 'The Jerk Rag'". Rolling Stone. February 14, 2012. Retrieved July 19, 2012.
- ^ "NOFX recording at the Blasting Room". Punknews.org. April 13, 2012. Retrieved July 19, 2012.
- ^ "NOFX complete recording". Punknews.org. May 1, 2012. Retrieved July 19, 2012.
- ^ "NOFX announce full details of new studio album 'Self Entitled'". NME.com. July 20, 2012. Retrieved August 15, 2012.
- ^ "Fat Mike announces release date for new NOFX record, talks Gabel". Punknews.org. May 9, 2012. Retrieved July 19, 2012.
- ^ Adam White (5 October 2012) Punknews Podcast: The week of October 2nd, 2012 with Fat Mike and Jello Biafra on Punknews.org. Retrieved 6 October 2012.
- ^ a b "Self Entitled Reviews". Metacritic.
- ^ "NOFX – Self-Entitled – Album Review". AbsolutePunk.net. September 11, 2012. Retrieved October 6, 2012.
- ^ Kellman, Andy. Self Entitled at AllMusic
- ^ Heisel, Scott (September 11, 2012). "Alternative Press | Reviews | NOFX – Self Entitled". Altpress.com. Retrieved October 6, 2012.
- ^ Bray, Ryan (September 7, 2012). "Album Review: NOFX – Self/Entitled". Consequence of Sound. Archived from the original on September 9, 2012. Retrieved June 23, 2016.
- ^ Hayes, Amanda (October 28, 2012). "NOFX: Self Entitled". Popmatters. Retrieved June 23, 2016.
- ^ Punknews.org review
- ^ Atari (September 11, 2012). "Review: NOFX – Self Entitled". Sputnikmusic. Retrieved June 23, 2016.
External links
[edit]- Self Entitled at YouTube (streamed copy where licensed)
| |
| Studio albums | |
| Live albums | |
| Compilation albums | |
| EPs | |
| Split albums | |
| Singles | |
| Related articles | |
Self Entitled
View on Grokipediafrom Grokipedia
Background and development
Announcement and songwriting
In December 2011, NOFX vocalist and bassist Fat Mike announced in an interview that the band was developing their twelfth studio album, intended as a follow-up to their 2009 release Coaster.[6] He described the project as challenging after decades of songwriting, emphasizing the difficulty of generating fresh material while expressing optimism about the quality of the emerging songs.[7] The album, later titled Self Entitled, was formally revealed in July 2012, with a scheduled release on September 11 via Fat Wreck Chords.[8] Fat Mike took primary responsibility for the songwriting, composing the majority of the tracks as the band's chief creative force.[9] He developed 18 songs during the process, ultimately selecting 12 for inclusion on the final album to maintain a tight, focused runtime.[9] This selective approach allowed for refinement, ensuring the material aligned with the band's vision without excess. The songwriting drew from specific influences, including Fat Mike's personal experiences—such as his recent divorce—and longstanding punk rock traditions.[10] He aimed to evoke the raw energy of early 1980s punk, deliberately avoiding the reggae and ska elements that had appeared in prior NOFX works, to create a stripped-back, old-school sound.[9][11] This writing phase extended over more than a year, culminating in the start of recording sessions in April 2012 at Motor Studios in San Francisco and Hurley Studios in Costa Mesa, California, with mixing and mastering at The Blasting Room in Fort Collins, Colorado.[12] The extended development period reflected Fat Mike's iterative process, building on initial ideas from 2011 to shape the album's direction.Pre-production preparations
Following the announcement of the album's development, NOFX coordinated with longtime producer Bill Stevenson to shape the project's vision, emphasizing a raw, old-school punk rock aesthetic that aligned with Stevenson's expertise from his work at The Blasting Room in Fort Collins, Colorado—a studio renowned for its punk rock pedigree through productions for bands like the Descendents and Rise Against.[13][12] This marked the band's third collaboration with Stevenson and engineer Jason Livermore, who traveled from The Blasting Room to NOFX's facilities to oversee the sessions.[13] The band scheduled a compact 2.5-week recording window in April 2012 at Fat Mike's Motor Studios in San Francisco and Hurley Studios in Costa Mesa, California, allowing for efficient tracking while preserving spontaneous energy.[14][12] This timeline followed Fat Mike's February 2012 disclosure that recording would begin that spring, building on his prolific songwriting output of 18 tracks.[9] Pre-production involved initial band rehearsals at Motor Studios, held 4-5 nights per week in a relaxed setting with barbecues and family present that often evolved into informal gatherings.[13] Fat Mike had demoed core elements months earlier by recording riffs on his own, selecting and assembling roughly 18 songs for the group to refine during these sessions, with 12 ultimately chosen for the final album.[13][14]Recording and production
Studio sessions
Recording for Self Entitled took place in April 2012 primarily at Motor Studios in San Francisco, California, and Hurley Studios in Costa Mesa, California, following pre-production planning at The Blasting Room in Fort Collins, Colorado.[15][16][12] The sessions unfolded over a tight two-and-a-half-week period from April 12 to 30, embodying the band's characteristic fast-paced punk approach to capturing raw energy without prolonged deliberation.[17] During this time, the core quartet—Fat Mike on bass and lead vocals, El Hefe on guitar and backing vocals, Eric Melvin on guitar, and Erik Sandin on drums—tracked the basic instrumentation live, prioritizing spontaneous performances to maintain the album's aggressive, unpolished vibe.[1] This efficient workflow enabled the group to lay down 18 songs, ultimately selecting 12 for the final release, all completed within the constrained schedule despite the high output.[17]Production team and techniques
The production of NOFX's Self Entitled was led by Bill Stevenson, a veteran punk rock figure known for his drumming and production work with influential acts like the Descendents, Black Flag, and prior NOFX albums such as Coaster (2009) and Wolves in Wolves' Clothing (2006). Stevenson's approach drew on his deep roots in the punk genre to guide the album's sound, ensuring a balance between aggressive energy and the band's signature melodic complexity.[18] Mixing and mastering took place at The Blasting Room studio in Fort Collins, Colorado, a facility co-owned by Stevenson renowned for its punk and hardcore productions, while recording occurred at Motor Studios in San Francisco, California, and Hurley Studios in Costa Mesa, California.[12] Jason Livermore, a longtime collaborator at the studio, handled mixing and mastering, applying techniques that preserved the raw, unpolished edge of live punk performances while enhancing clarity for melodic hooks and layered instrumentation.[19] This process involved minimal overdubs and compression to capture the "hostile early L.A. punk" vibe, prioritizing direct, high-fidelity drum and guitar tones that evoke the era's gritty hostility without sacrificing modern listenability.[20] The core band members—Fat Mike, Eric Melvin, El Hefe, and Erik Sandin—collaborated closely with Stevenson during these stages to refine the tracks' dynamics. The mastering emphasized dynamic range to sustain the album's relentless pace, resulting in a concise total runtime of 29:47 across 12 songs.[21]Composition and themes
Musical style
Self Entitled exemplifies NOFX's longstanding commitment to fast-paced punk rock, characterized by a raw, aggressive energy that echoes the band's early Los Angeles punk roots. The album strips back some of the experimental elements from prior releases, favoring a tighter, more controlled production that emphasizes concise song structures, with tracks averaging around 2.5 minutes in length across its 29-minute runtime. This approach results in punchy, high-octane compositions that prioritize momentum and directness, aligning with the skate punk ethos of the Fat Wreck Chords label.[22][23] Instrumentally, the record highlights aggressive guitar work from Eric Melvin and El Hefe, featuring technical riffs and occasional fiery solos that pulse with a steady, hurricane-like roar, while avoiding overly showy displays. Erik Sandin's drums drive the tracks with thwacking, life-infused beats that provide a solid, bouncy foundation, complemented by Fat Mike's prominent bass lines that anchor the melodic hooks. The overall sound blends punk's raw hostility with melodicore elements, creating a buzzy, stripped-down aesthetic reminiscent of the band's 1990s output, such as the straightforward aggression of Ribbed. This return to fundamentals distinguishes Self Entitled within NOFX's discography, moving away from the ska and metal influences of earlier works toward a purer punk rock core.[20][24][25][23]Lyrics and song concepts
The lyrics of Self Entitled, penned primarily by NOFX frontman Fat Mike (Michael Burkett), continue the band's tradition of irreverent satire and anti-establishment commentary, targeting themes of entitlement, personal relationships, and political hypocrisy with sharp humor and social critique.[26] Drawing from Fat Mike's atheist worldview, the album weaves in critiques of religion and excess, often blending personal vulnerability with biting wit to expose societal absurdities. This approach amplifies NOFX's longstanding motifs of punk irreverence, where lyrics mock authority and celebrate nonconformity without descending into preachiness.[27] A prime example is "72 Hookers," which satirizes religious extremism and the roots of terrorism through the lens of excess and misguided entitlement in fundamentalist cultures. Fat Mike draws inspiration from a French film depicting teenage suicide bombers motivated by promises of 72 virgins in the afterlife, using hyperbolic humor to underscore the destructive impact of such beliefs on global politics.[28] Similarly, "Ronnie & Mags" lampoons celebrity culture and 1980s political entitlement by personifying Ronald Reagan and Margaret Thatcher as a dysfunctional power couple, critiquing their policies on welfare, war, and economic inequality with irreverent wordplay.[29] In "I Believe in Goddess," the song explores atheism through a playful rejection of traditional deities and destiny, affirming belief in a feminine "goddess" and intuitive forces like luck and worship, reflecting Fat Mike's ongoing disdain for organized religion while injecting humorous defiance.[30] These concepts avoid full narrative spoilers but highlight how entitlement—personal, cultural, or ideological—fuels conflict and folly. The album's lyrical style evolves from prior NOFX works like Coaster (2009) or Wolves in Wolves' Clothing (2006), which featured more eclectic and experimental structures, toward a tighter, more focused satire that mirrors the record's retro hardcore energy without joke interludes or genre detours.[3] This shift emphasizes conceptual depth in shorter bursts, allowing the punk-driven pace to propel the commentary, as seen in tracks dissecting divorce and materialism like "I've Got One Jealous Again, Again," where Fat Mike humorously unpacks relational entitlement post-separation.[3] Overall, Self Entitled refines NOFX's signature blend of politics and personal excess, maintaining irreverence as a tool for broader social dissection.[28]Release and promotion
Singles and music videos
The lead single from Self Entitled, "Ronnie & Mags", was released on August 14, 2012, through Fat Wreck Chords as a 7-inch vinyl (backed with a demo version of "I Believe in Goddess") and digital download. The track, a satirical critique of 1980s political figures Ronald Reagan and Margaret Thatcher, did not achieve notable chart positions but served as an early preview of the album's punk edge. No official music video was produced for the single. The second single, "Xmas Has Been X'ed", followed on January 15, 2013, issued as a double A-side 7-inch vinyl paired with "New Year's Revolution" alongside digital formats via Fat Wreck Chords.[31] Like its predecessor, it saw limited commercial charting but aligned with the band's irreverent style through lyrics mocking Christmas consumerism and religious tropes. An official music video, directed by Ryan Harlin and filmed during the chaotic San Francisco Santacon 2012 event, captured the band's punk humor via costumed revelry and antics that amplified the song's holiday subversion, portraying festive mayhem as a metaphor for societal disillusionment.[32][33] This visual tied into broader promotional efforts by emphasizing NOFX's signature blend of satire and live-wire energy.Formats, marketing, and tour support
Self Entitled was released on September 11, 2012, through Fat Wreck Chords in the United States, with the United Kingdom release following on September 10.[8][19] The album was made available in multiple formats, including compact disc, standard black 180-gram vinyl LP (limited to 500 copies), and digital download.[34][1] Additionally, a limited edition clear vinyl with red, yellow, and green splatter, pressed in 150 copies at 45 RPM, was offered for collectors.[1] Marketing efforts for the album began in July 2012 with the reveal of the cover art, which featured a satirical image of the band members in regal attire, shared through online press announcements.[8][35] These announcements included the track listing and announcement of the lead single "Ronnie & Mags," generating early buzz ahead of the release. The album's launch tied into NOFX's extensive touring schedule from late 2012 through 2013, including a U.S. headlining tour in December 2012 with Teenage Bottlerocket and Elway, designed to coincide with the release.[36] Subsequent North American dates in late 2013, supported by acts like Dillinger Four and the Implants, further promoted the record by incorporating tracks such as "72 Hookers," "I Believe in Goddess," and "Ronnie & Mags" into setlists.[37][38]Reception and legacy
Critical reviews
Upon its release in 2012, Self Entitled garnered mixed reviews from music critics, earning an aggregate score of 68 out of 100 on Metacritic based on seven reviews, indicating generally favorable but divided opinions.[18] Critics praised the album's energetic punk sound and infectious hooks, which captured NOFX's signature fast-paced, melodic style. AbsolutePunk highlighted the "compelling" hooks and often thoughtful lyrics, describing the record as a success in tackling inward personal themes.[39] AllMusic commended its bursts of "brash, snotty skatepunk anthems," positioning it as a reliable entry point for newcomers while satisfying longtime fans with its vibrant energy.[22] However, detractors pointed to formulaic songwriting and a lack of innovation, viewing the album as predictable within NOFX's oeuvre. AllMusic noted that "there's nothing outstanding here," suggesting a comfortable but unremarkable adherence to the band's established formula. Punknews.org criticized the "half-assed" melodies and repetitive song structures, ultimately rating it 5 out of 10 and lamenting its overall staleness.[10] Reviewers frequently commented on the album's humor and production choices. PopMatters celebrated the "lowbrow humor" and "trademark disrespectfulness," citing tracks like "72 Hookers" for their satirical take on terrorism through absurd, anti-authoritarian lenses.[3] On production, Punknews.org observed that while the "trademark NOFX sound" persists with buzzsaw guitars and thumping drums, it conveys a sense of decay, rendering once-fresh elements "slightly stale and lackluster."[10] PopMatters echoed this by affirming the instrumental fidelity to So-Cal pop-punk roots, though with occasional surprises like the electro-pulse in "Cell Out."[3] The overall consensus positioned Self Entitled as a solid, if ungroundbreaking, addition to NOFX's catalog—energetic and humorous in familiar ways, but ultimately reinforcing rather than reinventing their punk legacy.[18]Commercial performance and impact
Self/Entitled debuted at number 42 on the US Billboard 200 chart and reached number 10 on the Billboard Independent Albums chart, marking a solid performance for the independent punk release through Fat Wreck Chords.[40][41] In the UK, the album entered the Official Rock & Metal Albums Chart at number 16 and spent two weeks there, while peaking at number 35 on the Official Independent Albums Chart and number 8 on the Official Independent Album Breakers Chart.[5] These positions highlighted its initial commercial traction within niche punk and independent markets during the first weeks of release in September 2012. The album's chart success supported NOFX's extensive touring schedule in 2012, including appearances at festivals like the SRH Fest, which helped maintain and expand their visibility in the punk scene.[42] Media coverage in punk-focused outlets, such as Punknews.org and PopMatters, further amplified its immediate cultural footprint, discussing its role in the band's evolving sound amid their long-standing independent ethos.[10][3] Despite mixed critical reviews, the commercial performance underscored NOFX's enduring appeal to dedicated fans.[43] No major certifications were awarded, and while no specific indie awards were conferred, the album's independent chart peaks affirmed its resonance within underground punk circuits.[5][41]Credits
Track listing
The standard edition of Self Entitled features the following 12 tracks, with a total runtime of 29:46.[34][44][12]| No. | Title | Length |
|---|---|---|
| 1. | "72 Hookers" | 3:36 |
| 2. | "I Believe in Goddess" | 1:34 |
| 3. | "Ronnie & Mags" | 2:09 |
| 4. | "She Didn't Lose Her Baby" | 2:56 |
| 5. | "Secret Society" | 2:53 |
| 6. | "I, Fatty" | 1:35 |
| 7. | "Cell Out" | 2:02 |
| 8. | "Down with the Ship" | 2:23 |
| 9. | "My Sycophant Others" | 2:46 |
| 10. | "This Machine Is 4" | 2:07 |
| 11. | "I've Got One Jealous Again, Again" | 3:02 |
| 12. | "Xmas Has Been X'ed" | 2:43 |