Hailing from Atlanta, Whores. are the love child of bands Black Mollies and Norma Jean, an intriguing marriage which led to the conception and birth of this sludgy, mucky noise-baby. The record sets off with disgusting feedback with crunching guitars and opens up into a solitary guitar riff, encapsulating the feel of the record right away. The tempo is very deliberate, perfect for slow head bobbing and gigantic melodies.
It remains constant and mostly unaltered throughout the entire EP, like a perpetuating force; the longer it goes on for, the bigger and better the effect. Raw, exposed drum beats compliment the riff before being blasted with a bass tone resembling a volcanic eruption. The lyrics challenge society and humanity; ‘Daddy’s Money’ criticising people’s lack of persistence and ambition, the line “pay to win” repeated again and again.
The arrangement of the record has been carefully constructed; the second track ‘Fake Life’ leading on from ‘Daddy’s Money’ beautifully. More fuzz-loaded guitars and big beats carry on the nod-worthy vibe. Strong and lengthy vocals dominate the track with a mix of singing and yelling provided by Christian Lembach. Messy and confusing interludes work well to counter the down-tempo riffs, which then seem massively exaggerated when they do finally kick back in. Repetition is used admirably. Confidence to not rush into changes reveals the calibre of the musicians and their comfortable approach to music, letting the riff proudly carry the song.
The overall sound of the EP has been shaped around the style of the aforementioned riff. The heavy levels of fuzziness and low-end resemble noise-rock giants such as The Melvins, Mudhoney and The Jesus Lizard. Such influences and sounds are exploited in ‘Shower Time’, the tone of the guitar matching the intensity of the vocals. High-pitched squeals are juxtaposed with lackadaisical singing which then breaks out into ground-shaking strings and screams. Bare, stripped-down verses are again cleverly used to emphasise the sonic assault that is lurking around the corner.
‘Straight Down’ is the more subdued track on the EP. It gently mesmerises you with creeping lead parts and rolling repetitive riffs. The fuzz that has been ever present now creates a dark rumble rather than a straight up spank in the chops; a relieving break from the viscous preceding tracks.
Dirty, grimy and dungy, ‘Ruiner’ has a distinct late 80s/early 90s Seattle-area grunge feel. ‘Tell Me Something Scientific’ has aggressive punchy shrieking, leading on to gloriously imperfect singing. This combination of short screams and long notes quite obviously nods towards bands such as Green River, yet the tempo of the record gives a more it a more alt rock feel. This beautiful conglomerate satisfies many listeners’ needs with colossal riffs, moody bass and strong sturdy beats.
If not for the reputable status of the already successful musicians, there may be a danger of being criticised for not taking risks. However, this is not the case. The simplicity within this record is what makes it such an incredible listen. The fortitude to bust out such humble jams gives Whores. the ability to request the respect they deserve.
Written by Jack Birch
Founder & Editor for DEAD PRESS! | Atheist and antitheist. | Judge of the quick & the dead since 1989.