Released last month but a release which should escape the attention of no one is the imagination soaked five track punk furores that is 64 Women. The new EP from Tarah Who?, the compelling encounter is an incendiary rock ‘n’ roll device which explodes on ears and senses with ravening appetite.
Consisting of Paris born guitarist/vocalist Tarah Carpenter and drummer/backing vocalist Coralie Hervé, LA based Tarah Who? has regularly tantalised and incited the senses through their releases but there is something about 64 Women which hungrily eclipses all before it. Each song is an individual adventure and trespass of imagination and enterprise united in a punk breeding and grunge/alt/noise rock nurturing. They have a bite and snarl which forces a step back and virulent contagiousness which had us jumping headlong into their devouring no bounds feared exploits.
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.
Copycat follows, hitting its creative stride instantly with rhythms a swiftly catchy lead to the skirmish of guitar and emotion. Like a rapacious mix of Spinnerette and in some ways 4 Non Blondes, the song reveals rock ‘n’ roll instincts and punk rock belligerence. Again the duo slips into calmer but no less striking moments within the sonic urgency before Hurt shares its own mellow breath as it rises up in a radiant melodic dew with Carpenter’s tones again providing an equally enticing persuasion soaked in emotion and reflective observation. It is a gorgeous moment in the release, a haunting seduction of craft, sound, and heart with inherent dissonance in all.
In contrast but with matching captivation Umbilicus strides from its first breath with punk antagonism and devilment, but another song unafraid to tease with unexpected momentary detours within ravenous goading which only add to its might and irreverence while Numb Killer brings the EP to a close with its own wonderfully nagging virulence and enterprise. Riffs tease and arouse as hooks ignite song and pleasure alike, all the while rhythms prowling and invading with equal contagion. Add the vocal tenacity and catchy intrusiveness of its creators and you have another song within 64 Women which leaves only a desperate hunger for more.
And as a whole the EP has us greedy for the next moment with Tarah Who?, something which has a real task on its hands to outdo the band’s latest riot but easy to suspect will relish and provide a thrilling adventure in trying.
64 Women is out now via Kurukulla Records.
http://www.tarahwho.com/ http://www.facebook.com/Tarahwho https://twitter.com/Tarahwho
Pete RingMaster 19/11/2019
Copyright RingMasterReview: MyFreeCopyright
Earlier this year, the band released the W.G.A.F. EP, a very well-received taster of the band’s punk fuelled, pop infested, ebullient rock ‘n’ roll now making one virulent holler from within A Deafening Silence. With defiance and attitude wrapped in hook ridden contagion, the Michael Wagener produced album immediately sets about getting under the skin with opener You Say. Flames of guitar instantly consume ears, a catchy rhythmic trespass in close pursuit before Sellers’ vocals join the swift coaxing. Within seconds an underlying hook teases but captivation is truly set with the song’s irresistibly rousing chorus. Like a hybrid of The Donnas, Spinnerette, and Sleater-Kinney but urgently enforcing its own individual character, the song as the band’s sound and enterprise sets the tone, manipulation, and adventure of things to come.
The band embraces more hard rock like hues for next up Johnny Demented, its raw sonic haze magnetically tempered by Coulson’s angelic tones. The song did not quite raise the roof as its predecessors in appetite and the passions here yet from start to finish it is a full captivation raising the ante as its holler and breath erupt across its eventful body.
Opening up with Pills, the album instantly had ears attentive and the body rocking. Soon the song strolls along with a summery glaze over eager catchiness as hooks collude with flirtatious riffs and rhythms. There is a whiff of The Shirts to the track as its heart embraces the instincts of pop and rock ‘n’ roll around the magnetic presence and tone of Spazzy.
Produced by James LeRock Loughrey (Skindred, White Zombie, My Vitriol, Bjork, Def Leppard), Valley of Thorns kicks off with its lead single, Mind Games teasing the senses with its sonic mist before boldly strolling through ears with a Deftones meets Spinnerette like captivation. There is a haunting air and emotive depth to the song yet it has a virulent swing to its gait and rhythmic persuasion which has the body swaying and appetite greedy in no time. A track epitomising the seductive persuasion and nagging irritability in The Kut’s sound, it is pure mesmerism which has become stronger and more striking across multiple plays.
Bad Egg is next, coaxing ears with a singular hook wearing an early Adam and The Ants scent before things open up with wiry melodies and predacious beats as McAvinue’s guitar spins a web of tangy melodic intrigue. Less ferocious and imposing than its predecessors, the track is dangerously bewitching, leaving a lingering imprint before Teethin’ strolls in like a gunslinger, one hiding its bite behind catchy endeavours but perpetually gnawing away with post and old school punk invention. Its exceptional persuasion is followed by that of Little Man, a haunting ballad-esque canter seemingly as much inspired by the darker explorations of Siouxsie and The Banshees as bands like Hole and 4 Non Blondes, and quite irresistible.
From opener Devil In Her Eyes, band and release firmly seize ears and a swiftly nurtured appetite for their enjoyably imposing temptations. Straight away, the first track casts a web of melodic enterprise and bullish rhythms with matching riffs upon the senses. It is a forceful entrance as intimidating as it is inviting, especially once the recognisable and ever potent vocals of Tank spring into action. Her presence adds further drama and harmonic tempting to an already fiery mix driven by the tenacious rhythms of drummer Kate and bassist Murf. The track continues to infect ears and imagination with its swinging gait and sonic hooks; seemingly drawing on inspirations from bands such as Halestorm and Avenged Sevenfold but in its great unpredictable twists and creative turns sparking thoughts of bands like Spinnerette and Flyleaf also, a foursome which probably most often comes close to giving a clue to the Chasing Dragons sound and individuality.
Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.
Immediately opener I Want You Maniac treats ears to a scuzzy riff matched by punchy rhythms and an inviting vocal confrontation from guitarist Maha. Just as swiftly there is a sense of a more aggressive, angry even, feel to the tone and music of the track which is supported and realised in broader visceral fashion across the rest of the EP. The infectious qualities which marked the previous release are just as prevalent too, hooks and anthemic vocals a virulent persuasion against the fuzz lined enterprise of Maha’s guitar and the thumping beats of Violet Cannibal aligned to the predatory lures of Alison Wood’s bass. As mentioned the track has a new aggressive and raw belligerence in sound which without doubt benefits band and release. The song hunts the senses like a mix of L7 and Distillers but with the punk toxicity of early Damned and the catchiness of The Ramones to its potency.