As great as it is receiving potential releases to write and shout about via labels and PR companies there is something extra alluring when it is the artist themselves who get in touch whether by choice or necessity. Such it is with UK outfit Innadaze who recently requested a little attention for their new self-titled EP. Offering four tracks of the band’s quickly revealing individual psych grunge sound it was an introduction and moment of exploration which proved richly rewarding.
Bradford based, Innadaze emerged in 2018, formed by guitarist/vocalist Enzo Annecchini, drummer Billy Lockwood and guitarist Daniel Greenhalgh. With its line-up soon completed by bassist Ato Leo Ame, the band released debut single Wild as Love soon after, a song as potent at drawing new fans as their live shows around Bradford, Leeds, Manchester, and Liverpool across 2019 and indeed a subsequent demo EP. February of this year saw their new EP unveiled and a quartet of tracks which captivated as they wormed under the skin and almost aggressively consumed the senses.
The band’s sound is an alluring fusion of grunge, psych rock and shoegaze, an even mix which maybe hints at others in certain times but going by the new proposition has a certain individuality which again only tempted attention. EP opener, Totally Insignificant, quickly establishes that presence and the rich breath of the band’s music. Immediately bold rhythms and heavy riffs descend on ears; additional teases of guitar lining up intrigue as the song eagerly emerges with grunge bred instincts. Already there is a thick contagion to the proposal, hooks and twists aligning to further lure ears, Annecchini’s alluring vocals bringing that more shoegaze/psych nurtured texturing to the song. It is a seriously rousing affair but one further lit up by melodic dexterity and a host of imagination themed hooks and turns.
It is a tremendous start only matched indeed slightly eclipsed by next up Beyond The Sky. It too grabs ears with a robust and muscular proposal from the off but quickly wraps it in melodic and harmonic enterprise. Again there is an unpredictability to twists and imagination which does not erupt in something voraciously unconventional but ensures every moment comes with open adventure and intrigue. As with all tracks there is a great almost drone like quality to it too which nags away at ears and appetite just as potently as the band’s tenacious and united enterprise.
The similarly outstanding Duress Excess similarly provides an incessant tempting, its core lures buzzing at the senses as rhythms pounce and grooves bound ears in intoxicating almost toxic enticement. Caustic and corrosive in some ways, seductive and seriously arousing in just as many, the track is a controlled yet feverish slice of feral rock ‘n’ roll again proving irresistible to these ears.
The EP concludes with You See Me, a gentler and calmer consideration for the senses still bred in the band’s psych/shoegaze nurtured instincts. Though the song did not quite ignite the passions as its predecessors, with its melodic landscape lit with fuzzy sonic fires and set across a rugged rhythmic setting, the track only fascinated from start to finish.
Innadaze is a band which deserves checking out and their EP one which warrants keen attention. Given the chance it is hard to imagine either will incite anything else.
The Innadaze EP is out now.
https://www.facebook.com/innadaze.music/
Pete RingMaster 29/02/2020
Copyright RingMasterReview: MyFreeCopyright
Their new offering is bookended by the band’s previously released singles, Carol’s Dead and Night School, an entrance and departure which is worth the effort of digging into Back-Street Boys alone. The first of the two more taunts than invites attention with its initial resonating throb of bass and lure dangling guitar but with the same impossible to ignore intrigue at its core. As tenacious beats increasingly swung their manipulative bait and the band’s twitchy vocals united in a just as lively and devilish static dance on the ears, the track enslaved as it stomped around with irresistible dynamics and attitude. Teasing with essences reminding of bands such as Gang Of Four, Artery, and The Fall across its more forceful individuality, the song is glorious and one of the best tracks of the past decade.
The instant jangle of Mat Durie and White’s guitars immediately enticed keen attention as rhythms pounced, the psych flames of Matty Reed’s sax only intensifying the tempting. From its first breath quickly after, the song’s stroll is an eager bounce, the animated beats of drummer Dave Mulvaney as encouraging as the dark swing of Pierce Kingan’s bass, it all wrapped in the just as infectious hug of Durie’s keys. Together the ingredients made for a virulent and addictive enticement, one as rousing, bordering on the rowdy, as it was dark and invasively provocative.
In saying that, the opening track of Fall From The Velvet Sky has a thick dark creative breath which reminds of Scottish band, The Filthy Tongues. The initial melodic glisten of Ghost Story is soon descended upon by emotive shadows, keys and rhythms united in their gothic intimation even before Denton shares his equally suggestive tones. The psych rock breath of those keys continues to light the haunting embrace of the song, its reflective stroll a prowling instigator on ears and imagination.
Shadows cast potent intimation upon the following soul searching Today while Down in the Dirt bears a grungier side to its character while circling the senses with its own individual psych rock nurtured squall as voice and words bear their hearts. Both songs expel mesmeric charm from start to finish, each sharing their unique imaginations before The Demon manages to eclipse both their striking exploits with its surf kissed, self-refection bred rapture and beauty.
The album opens with Close Your Eyes, a lone strum of guitar providing a lingering scent of sonic jeopardy from within which a rhythmically swinging clamour bursts. Instantaneously it is a contagious affair, the bass of Jamey Exton leading the rhythmic infection further driven by drummer Stewart Brown’s bold strikes. The sonic smog escaping Tate’s guitar smothers as it seduces, his vocals dancing with almost contempt on the wires within that enveloping incitement. Resistance to the track’s bounce is non-existent as the track manipulates limb and spirit alike, a glorious start to the release firmly declared.
As discord and melody craftily entangle it is a glorious incitement and matched by that within the following Cevaman Waltz. Rhythms prowl as a chugging guitar goes eye to eye with instincts, a devious grin lining rapid grooves and an epidemic of infection while equally compelling vocals ride its hungry currents. Again it is a mix which nags and harries but with less voracity than its predecessor though that is replaced by a pressure of urgency which only accelerates by the minute until erupting in a cyclone of wild and fertile commotion with those original grooves still steering the greed for the band’s invention.