We were in other bands. Now we're in this band. Soon we will all be deaf.
Commercially moribund, second wave, first class, good times, bad vibes.
"Bearing witness to a WHORES show is like being crushed under the tread of a Panzer tank as it charges into battle." -Creative Loafing Atlanta, Critics Pick: Best of Atlanta
"But then, the metallic noise-rock of Atlanta's Whores slashed me gloriously to ribbons. Theirs is a sound that's massive as a barge but furiously athletic. Why they're not mentioned as often or as widely as their heavy Georgian brethren is a mystery. " -This Little Underground, Orlando Weekly
"Next to the stage was Whores, who—I’ll just come out and say it—are the best band in Atlanta right now. Don’t argue with me; just accept it. The trio’s mix of ferocious power, jaw-dropping technical precision, and rhythmic melodicism is just too ferocious, too talented, too goddamn awesome to be denied...It’s breathtaking just how loud and epically primal these guys are." -Latest Disgrace
" Whores is relentless and merciless in its sonic attack: Its gigantic walls of fuzz and thunderously colossal low-end rumble recall The Melvins’ refined sludge; the epic, primal howls, feedback-heavy rests and meticulous precision recall the best of The Jesus Lizard and Karp. Simply: Whores f#!king slays. Period." -Free Times, Columbia's Free Weekly
"To put it plainly, Whores' debut EP, Ruiner, finds the Atlanta noise-rock trio destroying everything in sight with a pulverizing rumble of slow rhythm and hatred. Singer/guitarist Christian Lembach's possessed vocalizations sway between soaring melodies and screaming lashings in "Daddy's Money." The song pulls back the hammer and a blast of methodical, teeth-gnashing rage ensues without an ounce of subtlety heard anywhere throughout the four remaining songs. But there is a tuneful drive behind standout cuts "Fake Life" and "Straight Down." Each one moves with brute force, drawing strength from its own ferocity as the bass-heavy rhythms reveal themselves as the vicious centerpiece. The production is clean, direct and loud, facilitating the strengths on "Fake Life." Each song punches with reactionary, and ultimately rewarding, fits of pure psychosis. (4 out of 5 stars)" -Creative Loafing Atlanta
"Of all the truly awe-inspiring heaviness coming out of Georgia right now, Whores is still criminally underrated outside their region and easily stand among the crop’s nastiest cream."-This Little Underground, Orlando Weekly
"On any given night, Christian Lembach suffers anywhere between two and seven brain aneurysms; there's about a 35% chance that Travis Owen's drumsticks formerly played the roles of his tibiae; Jake Shultz's bass amp has caused clinical deafness in at least two dozen people. While none of the preceding statements are based whatsoever in fact, a listen or two through Ruiner just might get you wondering. The five-track debut EP from Whores. displays the trio's uncanny ability to put their angst, anguish, and general discontent into an audial form best described as a septum-bashing, and to do so without any gimmicks, frills, or blood-stained death-masks.
To put it one way, Lembach's unbridled songwriting very accurately reflects the fact that living amongst some of today's less than grateful, self-centered scumbags is often akin to brushing one's teeth with sandpaper. Ruiner is the barbed-wire floss to counteract that; it is the means by which these three southern noise-rockers bite back against the world's shitty ways and its shittier inhabitants. Opener 'Daddy's Money' recapitulates the story of that certain vapid, over-privileged bitch that everyone seems to know, whose father's rent checks just happen to go right up her button nose instead. Or take a track like 'Tell Me Something Scientific,' whose production and execution are as raw as its anti-religious-fundantalist message is obvious. Even the fact that the track's central riff and melody resembles those of the intro to 'Fake Life' just a little too closely is so easily forgivable considering the group's incredible propensity to grind their message home - in a nice way, if that's at all conceivable. Despite its noise-rock roots, nothing about Ruiner comes off as inaccessible: its unrelenting noisiness carries as much purpose and direction as its songwriting, meanwhile maintaining enough of their "***-off" attitude to lend the album its cutthroat allure. It vividly recalls and rehashes all of punk-rock's most essential mantras and motifs whilst supplementing them with some seriously pulverizing neo-monolithic riffage, cementing Ruiner as an end-of-the-year record worth delving back into a now retired 2011 for." - Sputnik Music
США
Commercially moribund, second wave, first class, good times, bad vibes.
"Bearing witness to a WHORES show is like being crushed under the tread of a Panzer tank as it charges into battle." -Creative Loafing Atlanta, Critics Pick: Best of Atlanta
"But then, the metallic noise-rock of Atlanta's Whores slashed me gloriously to ribbons. Theirs is a sound that's massive as a barge but furiously athletic. Why they're not mentioned as often or as widely as their heavy Georgian brethren is a mystery. " -This Little Underground, Orlando Weekly
"Next to the stage was Whores, who—I’ll just come out and say it—are the best band in Atlanta right now. Don’t argue with me; just accept it. The trio’s mix of ferocious power, jaw-dropping technical precision, and rhythmic melodicism is just too ferocious, too talented, too goddamn awesome to be denied...It’s breathtaking just how loud and epically primal these guys are." -Latest Disgrace
" Whores is relentless and merciless in its sonic attack: Its gigantic walls of fuzz and thunderously colossal low-end rumble recall The Melvins’ refined sludge; the epic, primal howls, feedback-heavy rests and meticulous precision recall the best of The Jesus Lizard and Karp. Simply: Whores f#!king slays. Period." -Free Times, Columbia's Free Weekly
"To put it plainly, Whores' debut EP, Ruiner, finds the Atlanta noise-rock trio destroying everything in sight with a pulverizing rumble of slow rhythm and hatred. Singer/guitarist Christian Lembach's possessed vocalizations sway between soaring melodies and screaming lashings in "Daddy's Money." The song pulls back the hammer and a blast of methodical, teeth-gnashing rage ensues without an ounce of subtlety heard anywhere throughout the four remaining songs. But there is a tuneful drive behind standout cuts "Fake Life" and "Straight Down." Each one moves with brute force, drawing strength from its own ferocity as the bass-heavy rhythms reveal themselves as the vicious centerpiece. The production is clean, direct and loud, facilitating the strengths on "Fake Life." Each song punches with reactionary, and ultimately rewarding, fits of pure psychosis. (4 out of 5 stars)" -Creative Loafing Atlanta
"Of all the truly awe-inspiring heaviness coming out of Georgia right now, Whores is still criminally underrated outside their region and easily stand among the crop’s nastiest cream."-This Little Underground, Orlando Weekly
"On any given night, Christian Lembach suffers anywhere between two and seven brain aneurysms; there's about a 35% chance that Travis Owen's drumsticks formerly played the roles of his tibiae; Jake Shultz's bass amp has caused clinical deafness in at least two dozen people. While none of the preceding statements are based whatsoever in fact, a listen or two through Ruiner just might get you wondering. The five-track debut EP from Whores. displays the trio's uncanny ability to put their angst, anguish, and general discontent into an audial form best described as a septum-bashing, and to do so without any gimmicks, frills, or blood-stained death-masks.
To put it one way, Lembach's unbridled songwriting very accurately reflects the fact that living amongst some of today's less than grateful, self-centered scumbags is often akin to brushing one's teeth with sandpaper. Ruiner is the barbed-wire floss to counteract that; it is the means by which these three southern noise-rockers bite back against the world's shitty ways and its shittier inhabitants. Opener 'Daddy's Money' recapitulates the story of that certain vapid, over-privileged bitch that everyone seems to know, whose father's rent checks just happen to go right up her button nose instead. Or take a track like 'Tell Me Something Scientific,' whose production and execution are as raw as its anti-religious-fundantalist message is obvious. Even the fact that the track's central riff and melody resembles those of the intro to 'Fake Life' just a little too closely is so easily forgivable considering the group's incredible propensity to grind their message home - in a nice way, if that's at all conceivable. Despite its noise-rock roots, nothing about Ruiner comes off as inaccessible: its unrelenting noisiness carries as much purpose and direction as its songwriting, meanwhile maintaining enough of their "***-off" attitude to lend the album its cutthroat allure. It vividly recalls and rehashes all of punk-rock's most essential mantras and motifs whilst supplementing them with some seriously pulverizing neo-monolithic riffage, cementing Ruiner as an end-of-the-year record worth delving back into a now retired 2011 for." - Sputnik Music