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CD
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EZRDR 130CD
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"With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. 'Next To Pay is about a sense of imminent doom, everyone is going to die,' vocalist/guitarist Riley Hawk says. 'It's not the happiest record, I guess.' To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. 'This album is more of an evolution, it's a little more punk-heavy,' Hawk says of the group quickly founded in 2018. 'We figured out what our sound was.' And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of 'Burn No Bridges' into a Motörhead-style basher."
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LP
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EZRDR 130LP
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LP version. "With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. 'Next To Pay is about a sense of imminent doom, everyone is going to die,' vocalist/guitarist Riley Hawk says. 'It's not the happiest record, I guess.' To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. 'This album is more of an evolution, it's a little more punk-heavy,' Hawk says of the group quickly founded in 2018. 'We figured out what our sound was.' And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of 'Burn No Bridges' into a Motörhead-style basher."
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7"
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EZRDR 105EP
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"Imagine if Incesticide-era Nirvana were crossed with Static Age-era garage-punk Misfits -- a sinister low-budget horror rock with visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, Riding Easy calls it Warish. Warish is a very newly minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist/vocalist and pro-skater Riley Hawk (son of skating legend Tony Hawk) and drummer Bruce McDonnell decided they wanted to try their hand at something more distinct than they'd done previously. Here is their second EP Running Scared/Their Demise. Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk's effect-laden vocals hearken to early Butthole Surfers and David Yow's tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie-cutter punk; more like Cobain's and Buzz Osbourne's wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout the band's warlike assault."
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7"
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EZRDR 103EP
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"Imagine if Incesticide-era Nirvana were crossed with Static Age-era Misfits -- sinister low budget horror-rock with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, we call it Warish. Warish is a very newly-minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist/vocalist Riley Hawk and drummer Bruce McDonnell decided they wanted to try their hand at something more distinct than they'd done previously. 'We wanted to do simpler riffs and a fun live show,' Riley explains. 'A little more punk, a little bit of grunge -- a little evil-ish.' Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk's effect-laden vocals hearken to early Butthole Surfers and David Yow's tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie-cutter punk; more like Cobain's and Buzz Osbourne's wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout this five-track, eleven-minute debut."
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