Though not their first offering, we will admit that Donor Fatigue is our introduction to UK outfit Quella and the beginning of close attention such its striking persuasion on ears. Offering four slices of the band’s progressive punk/metal which truly embraces much more than that tag suggests, the EP provides a gripping landscape of imagination and noise which demands and devours attention.
Coming out of London and Brighton, Quella have built a potent fan base through their previous releases including the Fantastischen! EP of last year and a live presence which has seen them share stages with the likes of Sumer, Core of iO, In Search of Sun, Black Orchid Empire, Gold Key, and Dirty Sound Magnet. Produced, recorded, mixed and mastered by Lewis Johns (Conjurer, Rolo Tomassi, Gnarwolves, Employed to Serve), Donor Fatigue would spark no surprise if it drew even greater attention and a new horde of ears the way of the band, indeed such its riveting adventure we expect it.
The EP opens with Crown Of Flies and immediately lured intrigue with its cinematic sample and sparked eager attention with the tempest of sound which swiftly follows. It in turn breeds a punchy and lyrically pungent canter as infectious as it is barbarous. The striking tones and imaginative words of vocalist Stefano Sebastianelli stand at the core of the captivation, the voracious rhythms of drummer Adam Parker and bassist Lee Davidson predacious temptation alongside breeding the drama as the guitar of Bean sonically shapes he song’s adventure. A fusion of punk, noise rock, and metallic dexterity, the song is simply superb and more compelling by the rock induced twist and imagination flooded turn.
Though it remained our favourite moment within the EP, it is regularly challenged if not dethroned within Donor Fatigue, with Smalltown Eiderdown the first to stake its suggestive claim. Instantly accosting ears with a dirty tide of riffs and senses swiping beats, the song just as quickly reveals spiky hooks and melodic taunting within its contagious and volatile body. Southern tinged grooves only add to the appetite nagging stoner lined lure of the song, its persuasion multi-faceted and all-consuming in voice and sound.
Loyal To The Lie teases with hard rock stranded enticement initially but no surprise as a thickly and varied flavoured web of sound and imagination grows from it, the band’s progressive instincts entangling punk and anthemic rock dexterity before its brief but potent presence makes way for the groove punk riot of Them Apples. Entering with a similar melodic involvement to that its predecessor left in, the track keenly uncages its rapacious rock ‘n’ roll wolfishness amidst a feral but composed breath. It is a galvanic mix which is likely to arouse the spirit of punk and hard rocker alike.
That last suggestion applies to Donor Fatigue as a whole, a release which has brought a new and already eagerly devoured pleasure in the shape of Quella to us at The RR
Donor Fatigue is released 22nd November with pre-ordering available now @ https://quella.bandcamp.com/album/donor-fatigue
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Pete RingMaster 19/11/2019
Copyright RingMasterReview: MyFreeCopyright
It is a great start to the EP and maybe it’s most potent moment though persistently challenged by its companions led by next up Cover Up And Die. If not as dramatic and punchy as its predecessor in its entrance, the song soon reveals its own contagious exploits and imagination in pop punk fuelled rock ‘n’ roll. Its bounce and snarl is unapologetically infectious and body an accomplished persuasion with Deans’ backing vocals a strong addition to Almond’s potent lead.
It is an outstanding start to the album quickly matched by the alt rock shenanigans of The Bean Song with its animated moves and virulent hookery. Darkly hued rhythms incite and entice from the first second, guitars and vocals casting a web of temptation which effortlessly worms itself into ears and body with the inevitable involvement achieved by its monkey tricks including exploiting the equally infectious lure of The Kinks with a big grin.
Fair to say given our enjoyment with previous encounters including acclaimed last EP, Half Middle Child Syndrome, anticipation was certainly alive with maybe unfair expectations of something certain to spark our appetites but it took little time for opener Linger to set the first breach of a whole new ardour for the band’s voracious assault and bold adventure. Within a breath, the guitar is winding its acidic lure around ears whilst invading them with clamorous thrusts, Hervé’s lurking beats just as invasive before the song explodes in a body jerking, attitude fuelled roar of noise and temptation. Vocals are equally as confrontational and magnetic, swinging from the threads of the continuing infectious clamour with matching voracity. Unpredictable twists and ear gripping enterprise simply add to the ingenuity and rabid flirtation of the track as a whole new level of Tarah Who? incitement unfurls.
As mentioned the band’s journey to date has not been plain sailing. Formed early 2009, the trio of vocalist/guitarist Peter Denton, bassist Jamie Byrne, and drummer Dwayne Kiernan leapt into the local live scene taking punk, metal, and ska influences into their intimately themed songs. “Due to mental and physical health difficulties” though the outfit disbanded towards the close of the following year but their friendship endured and saw them coming together to jam from time to time and work on other projects. In 2015, Kiernan underwent surgery for a rare spinal disorder but complications left him with brain injury and mobility issues leading him to have to give up playing drums. Music will have its day though and he turned to the bodhrán and in 2018 the three came together with a couple of acoustic tracks in Denton’s pocket and emerged as Fertile Reptile; his electric guitar swapped for an acoustic incitement to join the electric enticement of bass and that, as within their first EP, quickly addictive intimately manipulative bodhrán.
How did you approach our latest release in terms of writing and recording?
Stranger follows and equally has melancholy for company as van der Velde again immediately impresses. There is a fire in the song’s dark belly though which without truly igniting gives it energy and intensity, the former ensnaring hips and the latter an emotive engagement. By its finale, its Depeche Mode-esque catchiness is in full swing yet without defusing its darkened breath.