No Way – Sing Praises

Pic  Tony Stanley

Pic Tony Stanley

From sound and presence to voracity and appeal, there is nothing lightweight about the debut release From US band No Way. The four-track Sing Praises EP is a brute of an introduction to the Brooklyn quartet, a compelling and enslaving tempest of noise and invention fusing thick essences of noise and punk rock with those of sludge and heavy melodic rock. Some bands seem to instinctively tune in to the listener’s wants and primal needs, and it is fair to say that No Way certainly fed and intensively satisfied ours.

No Way was formed in 2012, swiftly making their mark on the New York punk scene. Drawing comparisons to the likes of Helmet and Unsane, the band were soon sculpting their own distinct presence and sound, unafraid to infuse varied styles and raw spices into the mix of sound mentioned earlier. Their live reputation has also grown from those early potent days with the foursome sharing stages with bands such as Whores., Fight Amp, Black Tusk, Inter Arma, American Sharks, Cancer Bats, Naam and White Hills. That attention will only be broadened and strengthened by the release of Sing Praises, the Andrew Schneider (Unsane, Pelican, Shrinebuilder) recorded and Carl Saff (Young Widows, Helms Alee, OFF!, Kowloon Walled City, Big Business) mastered proposition an imposing slab of prime sonic and rhythmic beef flavoured with an imagination and a creative intrigue to get the taste buds singing.

The release looms up on ears with opener The Cutting and within a breath is walling them in with bulging riffs and debilitating rhythms. It is an imposing start but only the teaser to greater things as warped sonic scythes from guitars coveradd to the brewing mayhem. Vocalist Chuck Berrett is as a formidable a presence as the song itself, his raw and growling tones an instant lure complimenting and inciting further the rugged turbulence around him. At its heart there is the inventiveness of a Melvins to the song and the caustic beauty of a Cancer Bats whilst the core swagger to grooves is Coal Chamber bred, their swing reminding of the song Sway. It is a merciless seduction gnawing and flirting with thoughts and emotions, an immediate pinnacle matched straight away by Shake the Meat.

The second track makes a less intensive but just as gripping entrance, the guitar of Jordan Melkin coaxing ears and imagination with potent hooks as ripe and pungent beats from drummer Chris Enriquez provide an intimidating cage. Further enhanced and coloured by the throaty bass bait of Dave Maffei alongside the varied and fierce vocals, the track is an unpredictable and insatiable predator threatening and teasing with impassioned aggression and shadow bred, bordering on deranged enterprise. The riveting blaze is followed by the exceptional prowl and creative stalking of War Dance. It is a hypnotic proposition, a lone riff accompanied by this time more restrained tones from Berrett the initial drama; bait subsequently joined by merciless slaps from Enriquez and eventually stoner-esque hues within explosive roars. The song hunts the senses and psyche from start to finish, even its intermittent immersive and invasive sonic squalls a menace which increases the theatre induced by the engrossing single minded slim stalking either side of them

The track is scintillating and leaves the appetite greedier than ever so thankfully closing track Pastures / Abuelas is more than able to feed the hunger. Over eight minutes of imaginative tension, it is a rigorously captivating pursuit of the senses loading with vicious bass growls, savage riffs, and a sprawling thick sonic smog, all punctuated with a rhythmic resourcefulness which leaves ears bruised and emotions raw. There is also a psychedelic smearing to the atmosphere and inventive colour of the track but it is the hellacious and brutal ingenuity of the track, as well as the stoner bred grooves further into its adventure, which lingers longest and the deepest in the psyche. Dark and ravenous with greater menace in its restraint than a full-out assault could achieve, the track is a delicious immersion and challenge as well as another open side to No Way’s sound.

Sing Praises is an exceptional debut from a band with all the potential to be a potent and inspiring force ahead on the evidence of this stunning entrance. No Way seem to know what ears and instincts want in heavy, brutal, and incendiary exploratory sounds, and of course this is only the beginning….

The Sing Praises EP is available now digitally and on cassette @ http://www.nowayny.com

https://www.facebook.com/nowayny

RingMaster 07/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Early Mammal – Horror at Pleasure

   Early Mammal 2

     Devouter Records has developed this knack, insight, skill whatever you wish to call it, in finding and releasing music from bands which offer something different and imaginatively impacting within what can be loosely termed as a stoner/psychedelic brief for the label. Horror at Pleasure, the debut release from UK band Early Mammal is no exception. It is a record which takes the senses and thoughts on an intensive sonic journey which is not always easy or pain free but is continually intriguing and exhausting in the most enjoyable way. Brewing a collision of stoner, blues, doom, and progressive invention into a psyche-out storm of sonic intensity and blistering, Early Mammal rides roughshod over the senses whilst rewarding them with weighty sonic enterprise and acid soaked erosive breath.

Formed in 2012, the Camberwell, South London trio of guitarists and vocalist Rob Herian (ex-Elks), drummer Ben Davis (ex-85 Bears), and Turkish born Deniz Belendir on organ and synth take their inspiration from bands across the likes of Captain Beefheart, High Rise, Peter Green, White Hills, Edgar Broughton Band, and Hawkwind, adding these rich spices to their own psyche fire of progressively carved and fuzzed textured burning. As mentioned the album is not always comfortable upon the ear but no pain no gain right!

Opening on the brief instrumental and shimmering air of Right Hand, its ambience sweltering in the sonic heat but restrained in itsArtwork touch, the release soon evolves into the harsher climes of Final Witch. Immediately raw on the ear with caustically surfaced vocals to match, the track grazes and sears the synapses with a compelling melodic glaze which is sonically heated until it scalds and bubbles upon the senses and a guitar acidity which exhausts and compromises the enterprise at play for even greater satisfaction. With the keys transporting instigated visuals into a spacey kaleidoscope of aural colours and imagery it is a strong start to the album, an unrelenting and unkind embrace which evokes good satisfaction.

Horror at Pleasure is undoubtedly an album you need to undertake the journey of numerous times to fully reap what it offers, the many encounters slowly but forcibly showing the impressive strengths of tracks like Demon or Saint and Coming Back. Admittedly the first of the pair made a mighty persuasion on its first meeting with the ear, its bluesy gait and ravaging intensity ridden by the raw vocal tone and expression of Herian to capture the imagination but after further companionship the song expands into one of the strongest emotion exploiting pinnacles on the album. The second of the two is a fire in an atmospheric wasteland, the chilled solitude soaked ambience the home to an alluring emotive guitar narrative which sparks more vivid feelings in its short but inciting instrumental life.

The further into the release the more impressive and irresistibly tempting it is, the likes of To Find Me Gone with its Stones like fiery breath and Checking The Bullshitter’s Queen, a song which flames around the ear with an inventive sonic script to light up the air with cascades of intrusive but enthralling cunning invention, the pair conspiring with many others to enflames and push the limits of passion on to greater responses. The finest moment on the giant soundscape that is Horror At Pleasure comes with Resurrection Men. The track canters along with feisty intent and energetic urgency without fully unleashing all its intensity, keeping some back to frequent and stalk the shadows which wrap the track, something the band does across the whole album in truth. It has to be said that though each track is certainly distinct to each other, this song especially ripe in originality it is not always clear why as all songs employ a similar surface abrasion and hellacious near on spiteful scuzzy energy and presence which is borne from the same sonic seed. They do stand apart though and Resurrection Man with the fullest furnace of transfixing brain warping ingenuity and mesmeric colours above the rest.

Closed by a companion instrumental in Uncle Scary’s Left Hand to the opening piece, Horror at Pleasure is a strongly impressive release. Though the album overall did not exactly ignite the strongest furnace inside for its endeavours, poking the dormant embers into inconsistent eruptions, one senses it is just a matter of time before Early Mammal do achieve that, but for many others they will have made that break through with this wholly pleasing feast of sonic alchemy one suspects.

http://www.facebook.com/earlymammal

8/10

RingMaster 03/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com