The latest treat for your ears comes in the form of Italian electro-math/post rock duo Nohaybanda!
Comprised of multi-instrumentalist Fabio Recchia and drummer Emanuele Tomasi, the experimental outfit have evolved substantially since their 2004 conception. Their self-titled release comes as the result of a meaty collaborative effort, with nods given to Megasound, stirpe999, Off Set Records, Dischi Bervisti, en veux tu? en v’à! and Pinkman Studio.
We’re introduced to the duo with SS1, a layered Brontide-esque track in which Recchia’s ability to simultaneously utilise a number of instruments becomes strikingly apparent. Developing an ascension throughout, it reaches a fairly intense capstone. Similarly, punchy second track APX holds an eyebrow-raising pace throughout. It’s a sharp commentary; a gradual builder reaching a pithy climax in an aggressive blend of synths and drums.
WCK begins as a slightly funkier number, but quickly undergoes something of a metamorphosis into a fairly hostile version of itself. Busy and complex, it’s a futuristic melting pot of overloaded textures and staggering harmonies. We’re gifted a brief breather around the halfway mark – in the form of a sporadic and lively percussion section – before the industrial electro-math sneaks up on us once again.
These mavericks are testing us with RKL. Launching immediately into fast-paced post-rock, their innovative vision is complicated and a little bewildering at times. Where am I? It’s a blur of the avant-garde and other-worldly and we’re confused and rather afraid. BLD appears to stand as a more mellow contribution to the record. We’re a little apprehensive, waiting for the drop and for us to call our mother again, but no. Maybe we were wrong all along and Nohaybanda! are really soft, gentle souls in disguise.
We were lied to. Penultimate track PPS aggressively catapults us straight back into a whirlpool of noise and doesn’t waste any time doing so. Granted, after a sumptuous breakdown the momentum does slow down, but we’re now programmed not to trust anyone anymore. Eventually the last track on the record makes itself known, and it’s as original and inventive as we expected. Fusing an expert knowledge of the contemporary with a delicious blend of electro-math, at this point we have literally no idea what’s going on, but we like it.
Rapid changes in texture, harmony and time signatures define this album, standing as a less than tentative experiment in the world of math rock. It’s an exhausting listen and you’ll definitely need a brief nap after, but we’d most certainly recommend this little gem. Remember that bizarre fly-on-the-wall show where camera crews filmed Ozzy Osbourne’s daily life, and he spent the vast majority of it deeply confused but he still had a great time? That’s essentially what listening to this record feels like.