In his sequel to
Our Noise (1995), Gomez follows the fortunes of Virginia-based rock band Bottlecap. After coming off a near-disastrous tour, Mark, Gary, and Steve have decided to accept a lucrative contract with an L.A. record company. Their excitement is short-lived as all the usual suspects conspire to short-circuit their plans: Mark can't seem to perform the songs he's played a million times when it comes down to recording them in the studio; Gary sells Mark down the river when it looks like the company honchos want Mark out of the band; and Steve has graduated from drinking whiskey sours to shooting heroin. Gomez has a tough time pacing his material, for readers will surely tire of wading through paragraph after paragraph describing, for example, just how Gary sorts his laundry. Still, there are some stunning moments as Gomez, in his plainspoken and earnest prose, offers scenes revealing his characters in all their touching awkwardness.
Joanne Wilkinson
From Kirkus Reviews
Deftly beguiling sequel to a Gen-X soap opera (Our Noise, 1995) about the misadventures of the Virginia bar band Bottlecap. Beginning where Our Noise left off, Mark, Gary, and Steve have ditched their hometown manager, jilted their girlfriends, and burned every bridge they can to take an all-expense-paid trip to Los Angeles, where they plan to record their first CD for Subterfuge Records, a trendy ``alternative'' label now owned by a giant Japanese entertainment conglomerate. While bassist Gary and drummer Steve pillage the mini-bar of their way-cool Mondrian Hotel suite, guitarist Mark naively signs a deal memo with weirdly blue-eyed Henry James, a record company executive who then announces that, after listening to a tape of Bottlecap's earlier songs, he doesn't ``hear a single'' that radio stations would want to play. Wondering if he hasn't made a deal with a devil, Mark bumps into Corrine, a film studio production assistant, who seems to enjoy him for reasons that have nothing to do with his affluent parents or the music he plays. While moving into a condo owned by Subterfuge, Steve meets Sam, an unemployed actor and drug dealer whose neurotic friendship will ultimately doom the band. Meanwhile, Gary, envious of Mark's success with women, finds salvation in doing his laundry. The collision between Bottlecap's artistic pretensions and the record company's commercial interest is no surprise, but Gomez inventively dodges every clich: His Hollywood settings find depth in the very fact of so much shallowness, and his clueless slackers find far more than they deserve as they traipse down the boulevard of broken dreams. A gentle, broadly appealing tale of fumbling love and slick betrayal from a writer who's been there, done that, and still has plenty to say. --
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