Disastroid has a knack for making each release distinguishable from one another. Their last album, Missiles, is dexterous and energetic in part to the fretwork abilities of both Enver Koneya (vocals/guitar) and Travis Williams (bass), while Braden McGaw (drums) leads the unit in a variety of time signatures. The songwriting on their new album, Screen, distances itself from the former with more straightforward riffs, a muddier sound, and fewer dynamics throughout the nine tracks. Think of trudging riffs being led by a steadier time keep, like a giant marching to a war drum cadence. Screen shows how versatile their songwriting is, along with confounding us writers even more so on how to properly classify these guys. That’s their own genius, whether they realize it or not, they’ve been actively avoiding serious classification since coming into existence. For a decade, Disastroid has been a part of the Bay Area heavy rock community, booking their own tours and releasing their own records. Describing their sound has given some interesting responses from zines, blogs, and people who’ve attended their shows over the years. To give our own to this nonsense, here’s the following:
Disastroid’s music is the soundtrack to the interstellar war of the three heads of King Ghidorah against Frank Kozik, George Carlin, and David Yow.
The differences between Screen and Missiles aren’t substantial but considerable enough to be noticed off the cusp. The tracks “Coyote” and “Dinosaur” are go-to examples to back up this description with its repetitive, robotic-like riffing throughout. The first QOTSA album is a good reference point to get an idea of that description. “Getting in the Way” and the title track are the grunge sounding tracks on the record, which seems appropriate given that Koneya’s voice is similar to the recently deceased Chris Cornell. For 2:39, they corner themselves in the stoner rock category with the straightforward rocking “I Didn’t Kill Myself.” Not to alienate longtime listeners, they delve back to their musical dynamics with the instrumental “Choke the Falcon”, and deliver a smorgasbord of genre derivatives with the finale, “Gunslinger.” The album artwork, designed by Williams, resonates a sense of irony and reinforces a sad reality of the path we’re on concerning technology and the real world around us.
For fans of: The Melvins, Quicksand, Drive Like Jehu