Local Music News

Manray are a math rock quintet from Athens, GA. Although only having formed in June, they have already created quite a buzz due to frequent performances and a recent tour with local rockers Lazer/Wulf. Comprised of three brothers Ryan, Jordan, and Derek Oliviera, they are completed by guitarist Gene Woolfolk.  All members share vocal duties. Their first recorded offering, a four song EP entitled “I Think I heard Something…”, fuses psychedelia, math rock, and indie rock into an amalgam of twisted rhythms, complexly arranged lead lines, and wide dynamic changes.

While some have cited Manray as a “math rock” group, this EP highlights a much more psychedelic sound. Many songs feature sustained feedback, pulsing hand clap rhythms, and airy chord voicings. The title track opens as such with interplaying guitar lines that create deceivingly simple, yet amusing melodies. The vocals consist of a series of distant “woaaah’s”, essentially making the song an instrumental. A tropical and light atmosphere is created by the guitars, but it becomes overpowered by crashing cymbals as the song moves between load and soft sections. Where drums do take over they tend to overshadow the rest of the sounds. Despite this, it is an interesting contrast between soft guitars and harsh drumming.

After a brief bass driven interlude, the third song, “Blue Lights: On,” takes the band to a harder, more metal-oriented sound. The riffs rely heavily on hammer-ons, pull-offs, and quickly ascending runs. The chaotic drum style of Derek Olivia fits better here than on the first song. True vocals and lyrics are introduced as Gene and Ryan alternate throaty screams and more moving clean vocals. Their vocals help fill out the texture of the sound which is a bit thin due to lack of rhythm guitar or consistent kick drum. Quick rhythm changes and slippery drum fills help to make the track a highlight of the EP.

The last song, “Burning Bridges”, begins with another hard driving riff which alludes to some metal or punk influences. Unfortunately, this time the vocals (shared by Jordan and Gene) seem to fall lackluster, especially in the verses. Their placement in the mix could be culprit, however, I believe they clash too much with the busy riffing. These sections just sound too clustered and the bizarre rhythms detract from having any sort of memorable melody. The clean vocals that follow during the bridge are more successful. They seem to float over the riffs which are less chaotic. More rhythm stops highlighted by harmonized lead guitar lines continue through the song and traditional power chord style rhythms also make an appearance adding to the diverse (at times overwhelming) variety.

The recording quality of the EP is quite primeval. Better compression, overall EQing, and attention to detail and creativity during the mixing stage could’ve brought the songs to life. While a raw, unfiltered sound may work well for a live mix, it doesn’t translate so well to a production quality CD which will be listened to in car stereos, on iPod’s, etc.

[WARNING: Editorial to follow]

As a metal enthusiast I see a need for a certain amount of groove in all music whether it be rock, jazz, or even classical. To me the math rock genre seems to say “Screw the groove. Were gonna play freaky time signatures to show that we’re incredibly competent counters.” While this may not be true of all bands labeled under the genre’s canopy, it does raise a critical question relevant to all genres featuring highly technical musicianship: Where does the line between a lot and too much end? On their first EP, Manray have packed a ton of different ideas into essentially three songs. To me, it is overwhelming and not very well conceived. Their song writing abilities simply have not caught up with their technical proficiency.

Many artists today are turning to strange, call it progressive, musical tones to set their sound apart from the rest. However, in so doing they have established weirdness as a standard. I would like to see Manray set themselves apart from Cinemechanica, Powers, and whoever else they take influence from by being less obviously mathematical. Some subtlety and restraint could help propel this band to their full potential.

Tracklist:
1. I Think I Heard Something…
2. Interlude
3. Blue Lights: On
4. Burning Bridges

Spewtilator’s new tape entitled Get Conjured is seriously one of the coolest releases. It’s composed of the following tunes:

• Super Ghouls N Ghosts
• Spacebag
• Zombear
• Grave Digger

All the songs rule and are filled with gnarly riffs and super shredding solos. The first song, Super Ghouls N Ghosts gives a metal rendition of the ‘91 SNES video game. The next song on the tape brings the mysterious arrival of a party package from space. Zombear is one of Spewtilator’s older songs and depicts the story of “nature’s most brutal design”. The tape ends with Grave Digger and leaves you wanting for more. The songs fly by fast and leaves you with a hardcore thrill.

Go to Spewtilator’s website here to check out more from them and make sure to keep an eye out for their next show!

Local Atlanta/Athens death metal band, Living Decay released their first E.P. Entitled Doomed to Last over the summer. It follows their first demo Filled with Rot. Quickly, the band consists of:

• Dylan Martin-Guitar
• David Prae-Guitar/Back-Up Vocals
• Matt Scott-Bass
• Rob Russell-Drums/Vocals

The E.P. consists of fast solos, heavy riffs, and gets your head banging for more tunes from these guys. Doomed to Last depicts what true death metal is all about. The songs on the E.P. are disgusting (in a good way) and filled with gore. The songs are:

• Doomed To Last
• Acid Bath
• Vomit
• Snapped

The E.P. definitely shows the progress that the band has made throughout the last year and a half from their first release. Guitarist David Prae feels that “The material on Doomed to Last is much more of a whole band effort…every song on Doomed to Last has at least some flavor from everyone. In turn, I feel Doomed to Last represents Living Decay (more than Filled with Rot) in how we approach our music as a single disgusting mass. And hopefully we will continue to be able to refine ourselves to make even better and more repulsive offerings in the future.”

I certainly can’t wait to hear what the band brews up next.

To listen to Living Decay, visit their website HERE.

To check them out, head out to WonderRoot in Atlanta on Thursday, October 19th. They’ll be playing with Atlanta locals Doomed Youth, In Ruins, and Boston natives Ramming Speed. The show starts at 8 PM and costs 6 bucks!

Get your copy of Doomed to Last today my visiting their myspace.

Artist: Utah
Album: Here They Come
Year: 2010

Utah are an Athens two-piece drums and guitar band formed in 2009. Their first release, Here They Come, is a highly proficient husk of Doom ala EyeHateGod, Bongzilla, or Electric Wizard. However, their sound is not always slow and plodding. On the contrary, many of the songs on their first EP are mid tempo and have an occasional punk feel. Their sound is primarily characterized by a wall of fuzzy guitar-distortion. Larry C.’s ride cymbal sets the tempo as he plays fast drum fills and pounds heavy beats on the kick. Will and Larry share vocal duties. Many of the lyrics are sung in a yelled, or chanted fashion which creates a powerful sound and compliments well their primal sounding instruments. The riffs are ever-basked in chewy fuzz and seem as if they were written specifically to compliment the husky sound of the amplifiers. Here They Come is a great demonstration of up-tempo Doom Metal, but none of the songs really feel like completed pieces. The longest song is 2:55 and the whole EP only clocks in at 12:13. Additionally, the EP’s grungey mixing doesn’t truly do justice to the power of Larry’s kick drum which is somewhat lost in the muddy bottom end. However, the exceptionally throaty guitar tone should be a nirvana for hardcore Doom enthusiasts looking for a fuzzy fix.

Tracklist:
1. Bisontennial
2. Geo
3. Help
4. Uno
5. Jorge

Turf War is an Atlanta band that has been making quite a buzz in the scene lately, opening for acts such as Black Lips, Free Energy, and Titus Andronicus. They’re sound is reminiscent of a southern version of the late Exploding Hearts: fun, lo-fi power pop. I saw them at the aforementioned Free Energy and Titus show and they really tore it up. The crowd seemed wary at first, but became much more enthusiastic as the show went on. They also made fans of the other bands as the guitarist of Free Energy wore a Turf War shirt for most of the night. Luckily for us, they posted their 4-song EP for free on their Tumblr!

Click here to get it! It’s great!

Odist are an experimental rock trio from Atlanta, GA. They play in a style which is reminiscent of Chicago progressives Pelican with occasional FX drenched leads ala Jimi Hendrix. All their music is instrumental and incorporates drums, bass, guitars, loops, and effects to create a sweeping, wave-like sound which is driven along by intricate, hard hitting drum grooves and a riffing bass line. Tracks 1, 3, and 5 are moderate length pieces which have a less improvised feel. However, 2, 4, 6, and 7 are quite long and lean much more towards the bands experimental, possibly self-indulgent, tendencies. Overall, Odist’s On The 49^th Day is intense and powerful, yet graceful and spacey. Check out more on Odist on their myspace.