ninehertz

Even if Why Patterns hadn't already impressed with their debut Regurgatorium, the fact they are formed of members from Wren and Warren Shoenbright, two of the brightest sparks within the UK doom and post-metal underground, would make Screamers essential listening anyway.

As it happens, it's even better than they already were. As the bass that'll knock through walls opens, and the angsty, jumpy noise rock rides through, you're brought back to their world, happily so. The short song lengths don't allow you to ground yourself before it is launching into chaos afresh, the second track of the school of Lightning Bolt. The third has such explosive bass sounds at its ending, in a gawping at fireworks equally as much as running from a bomb experience.

What's really cool about Why Patterns though is that they're not a one trick pony, nor wedded to a single noise-rock style. You hear it more as the album progresses, the noise rock becomes more oddball, less easily pigeonholed, and experimental with it. I've seen a few Full of Hell comparisons made by likeminded commentators, which I wasn't sure of at first but turn out to be strangely astute - you find it in the frenetic Wind Up Chattering Teeth, a glorious 66 seconds of racket. The following Clubfoot by Kasabian by Blacklisters is even better, impossible to describe so only worth ascribing to Why Patterns.

As it closes with its longest track, a self indulgent 2 minutes and 52 seconds, whirling around in circles of madness, it feels like a final blow out. And you're left with a wry smile, a residual buzz of adrenaline in your veins. Described as 'avant noise grindcore', Screamers is a fashioning of sounds and skewing of genre norms into something new, wild and wonderful.