Somnuri

Fans of Mastodon or other earth-shaking, progressive-tinged sludge need to listen to Somnuri‘s debut album. On their self-titled debut, the Brooklyn-based group blend styles and take risks in a catchy way that is uniquely Somnuri. Listen to the full album exclusively through Decibel and read an interview with the band below. Somnuri is out tomorrow on Magnetic Eye. - Decibel Magazine

Brooklyn, NY based trio, Somnuri, are on a path of their own with the upcoming debut self-titled full length, to be released on November 10th. Moving quickly through a plethora of music traits ranging from sludge, to math, while adding in some delicate melodies of southern melody, they round out a sound that's heavy as fuck, but easy to listen to at any time. - Metal Injection

MetalSucks readers may not yet be familiar with Somnuri, but those in the Brooklyn metal scene — and longtime readers of this site the world over — will certainly know the bands from which its members come: Blackout, Hull and Family. And whether those names mean anything to you or not, now’s your chance to get acquainted with their new project, highly worth your attention on its own merit.

On “Kaizen,” the video for which we’re premiering today, Somnuri straddle the line between stoner metal, sludge, doom and progressive post-metal, using hard-driving, fuzzed out riffs as a catalyst to get things moving and keep them that way before opening up into a gorgeous, quarter-time instrumental passage to close out the track. The video offers a taste of their live show, and though we’ve yet to witness it in person it looks every bit as much fun as the music suggests it would be. - Metal Sucks

Aaaaaaaaaaahhhh YEAH! Now THAT is more like it. You crush me, Somnuri. YOU FUCKIN DO IT! I deserve it and so do you and so does everyone else who is sick and tired of hearing about how Mastodon is still some goddamn acme of heady nug heavy when Matt Pike still lives and breathes. Not that Somnuri is ALL High on Fire or Sleep worship, but they do smoke the ashes of those monoliths something fierce and fucking sweet while forging their own roar with a relentless accord that beckons sludge and doom and the distinct sense of wonder that comes with meeting your face on the living room floor. - Cvlt Nation

Listening to Brooklyn-based Somnuri’s debut record is like taking an in-depth tour of all things post-metal. Reviews of the record bring up obvious points of comparison (Torche, Baroness, Mastodon), and while Somnuri does, in moments, sound like all those bands, the name-drop comparison falls short of properly describing the substantial foundation they laid on the record, and what they’re adding to that foundation with their live show. Their songs are challenging in the volume of information each one throws at the listener/viewer in a short span, covering wide swaths of territory and, like the record and it’s easy points of reference, add up to more than the sum of its parts. The rhythm section of drummer Phil SanGiacomo and bassist Drew Mack hold down a serious groove, turning on a dime to accommodate each song’s many movements, while singer/guitarist Justin Sherrel is free to paint in many colors, tones and voices on top. You get the feeling that they’ve only just begun, and that Somnuri’s progression from here will be one to watch closely.

Read More: Live Report: Dark Castle At St Vitus | http://www.invisibleoranges.com/live-report-dark-castle-at-st-vitus/?trackback=tsmclip - Invisible Oranges

Somnuri have rapidly made a name for themselves as one of the most intense and fascinating bands in the varied Brooklyn metal scene. These sludge 'n' roll masterminds have unleashed track after track of bludgeoning, riff filled goodness, featuring a variety of vocal styles, potent song structures and so much more. Somnuri's self titled debut is the sort of thing that you can really sink your teeth into and which will remind you again and again why we spend so much time digging into what the underground music scene is all about.

There is something strangely addictive about this band, the way that they careen forward and their sort of carefree ability to simply crush it. There is a pummeling beauty to the sonic assault of theese tracks and an unrelenting ability to crack skulls one punishing riff at a time. Yet despite the depth of the songwriting on this record there is also more than enough to take in on the first listen. In fact, the potential here seems to be that if the band could spend even more time in the studio then they could put something together so wonderfully multi layered that there would be no real escape from the beast that they have unleashed.

The fact that songs of this depth are crafted with such simple poetry and have such wonderful mass to them makes me realize that these guys are tapped into something deeper. There is a sublime crush to what Somnuri holds for the listener and while it may not be as developed as it could be yet you get the sense that there is so much more to come. I'm curious to hear these guys grow their work as we delve ever deeper into the punishing sonic graveyards of sludge metal and find strange new paths forward. - Two Guys Review Metal

Up-and-coming stoner/sludge/doom metal/progressive trio from Brooklyn, Somnuri, consisting of members of Blackout, Hull, and Family, they are formidably manifesting decibels of subliminally-composed heavy fuzz and thrashing resonances inspired by a myriad of names such as Mastodon, High on Fire, and Baroness. There definitely is diverse elements that can be found in their style— be it a convergence of black metal, sludge, math rock, progressive post-metal, you name it. As a result, they successfully manage to present a profound variety of paces, rhythms, and vocal ranges. They are the kind of band that would not hesitate to solicit influences from an extensive range of references in order to evolve as their own kind of authenticity. I personally don’t think that they suit only one single mundane classification of genre; they branch out in the most proficient way ever possible. They have done an awesome job of presenting how their elements can be ethereal but also belligerent at the same time-- their style is like a conundrum. It’s interesting to find trails of black metal-inspired growls in a sludge content that can be found in some tracks, as well.

The first track, “Kaizen”, is an atmospheric tune that appears to be strong on stoner elements and features a slow-paced outro which contrasts to the fast and upbeat beginning of the song. Hereafter, there comes “Inhabitant” with a blistering nuance and black metal-inspired funereal distortion. The next track “Same Skies” is in a more rapid pace than the previous two tracks, intensified by its chaotic drumbeats, and it mainly contains sonorous growls. “Slow Burn” is a droning, fuzzed-out track with prepossessing riffs and a well-crafted combination between growls and clean vocals. “Opaque” happens to be a short track that comes off as tranquil and clandestine. “Welcome the Stranger” has some circle pit-inducing malignant vibes that would trigger you to stage-dive and mosh. Next off we have “Pulling Teeth” and its convoluting riffs of the damned. The last track “Through the Dead” is a rhythmic, ethereal take on stoner that closes the album as the longest track.

This self-titled debut is an impressive debut, possessing a musical style that is extensive and not chained to one certain sphere only. It has a lot of scenes and roots implemented in its content, and it’s such a good start for them. - The Sludgelord

Let me just go ahead and open by saying that no, I don’t think I’m going to get tired of progressive stoner/sludge metal in the foreseeable future. There’s been so much of it lately but I just can’t seem to get enough; something about the marriage of one of the slowest and filthiest genres of metal and one of its most flamboyantly technical just pierces me right to the core. Especially when it’s as good as Somnuri‘s upcoming release. Planned for November 10th, this debut release by a band which contains members of Hull, Blackout and Family (all bands you should check out right now), leans on the heavier sides of stoner and sludge to bring you a beast of a record. Don’t believe me? Check out the second track premiering from it right below!

Alright, let’s start with four minutes and nine seconds. Just do it. If that fucking riff doesn’t make you “god damn” and make the famous “stank” face, then you’re dead inside. It’s just that huge, guitar, bass and drums moving at a pace that’s more fit for a glacier but not one of those ephemeral, post rock glaciers. This one is a huge chunk of rotten ice (that’s a thing by the way and it’s super fucking metal) moving towards you at a speed which speaks less of ease and patience and more of a predator taking its time to get to its prey and finally finish them off.

The rest of the track is just as huge, all blistering leads and rampaging vocals. It’s got a little bit of HARK and Mastodon and YOB and it’s pissed off. Other passages on the album explore these heavier sides but also throw in a lot more chaotic segments, channeling elements of noise rock, mathcore and more. All of this and more make this is one of the more impressive debuts we’ve heard this year and you’d do yourself a great disfavour by sleeping on it. So don’t do that, you know? Head on over here to pre-order and spin “Inhabitant” a few million times before the full thing hits. - Heavy Blog Is Heavy

Somnuri answer back with two originals of their own in “Over and Out” and “Edge of the Forest,” neither of which hits the runtime of Godmaker‘s “An Excerpt,” but both of which find the trio building on the promise of their first record and bringing together a dynamic that benefits from the chemistry burgeoning among the players. Sherrell, who drummed in Bezoar and plays bass in Blackout, seems to be the kind of player who can handle just about any task he might take on in a band. Vocallly he’s in easy command in switching between clean and harsh lines, and his tone and that of Mack are both righteously thick without being indistinguishable from each other — Jeff Berner recorded at Studio G, while SanGiacomo mixed. “Over and Out” moves in its second half to a tight chug and weaves a lead line overhead to give a tonal contrast, and concludes with a full-brunt crush that’s absolutely punishing.

“Edge of the Forest” is longer by nearly three full minutes at 7:21, and uses some of that time to set up a more patient buildup à la Godmaker earlier with the crash-in happening right around the two-minute mark with far-back clean vocals reminding of the last Akimbo (yes, I know: wrong coast, but they were writing about New Jersey, so eat me) before the slow roars and screams drop in the midsection to atmospheric guitar leading not to a build, but a sudden slam forward that is propelled by the drums through a fierce but still controlled crescendo given vicious screams before a final return to the chug that first enveloped after that midsection quiet part gives a last-minute sense of symmetry and the piece ends on a notably progressive assault. The temptation with a split is to think of the bands involved in competition with each other, and maybe that’s what’s happening with Godmaker and Somnuri here, but the fact of the matter is both offer an intricacy of style that adds depth to their raw and sometimes angular heaviness. They work better together than they do as adversaries, in other words, and the aim in this split seems not to be to find them pitted against each other, but acting in unison toward their shared goal of conveying some of the best aspects on New York’s modern noise movement. It’s a thoughtful madness. - The Obelisk

Whenever you hear the description ‘new American noise-rock trio’ your first question ought to be: are they as good as Unsane? The answer is always ‘no’, but in the case of Brooklyn’s Somnuri, you really shouldn’t hold that against them, or let it ruin your enjoyment – if that’s the word for 40 minutes of acid-washed, kick-to-the-groin noise rock – of their self-titled debut. Ignore, too, their stated intention to write about the struggles of living in New York – which presumably include the difficulties of finding somewhere to have your lumberjack beard trimmed or obtaining a reliable quinoa dealer – and concentrate on the pulverising dirge of their stripped-down, post-Mastodon riffs and red-lining, brute-force dynamics. Beyond the lengthy openers Same Skies is where things truly get threatening; all juddering tempo changes and caustic guitars set to truly spoil your day. - Louder Sound (Metal Hammer)

Over the course of the last year or so, there’s been a major change in my listening habits. I used to be more of a breadth type of listener, sampling as many new metal releases as possible each week regardless of genre. Thanks largely to the number of promos that show up in my inbox every week thanks to the Vault, I just don’t have the time or energy to listen like that anymore – I’m much more of a depth kind of guy now. I listen to (and end up writing about) a lot of black metal, and as a result a lot of other styles have fallen out of my listening rotation.

For example, I rarely listen to sludge anymore. I was never really the biggest fan of the genre anyway (aside from Torche, who fucking rule), but I can probably count on one hand the number of sludge records I’ve listened to all the way through this year. That’s why I’m more than a little surprised by how taken I am with the self-titled debut from Brooklyn-based trio Somnuri. Comprised of former/current members of Hull, Blackout and Family, they take a slightly more progressive approach in their songwriting while also sprinkling in liberal amounts of what sounds like a grunge influence. It’s an interesting mix overall, and makes for some very original, engaging listening.

There’s one thing I have to mention up front here, though. Vocalist Justin Sherrel’s cleans bear an uncanny resemblance to Chris Cornell’s lower register, to the point where they kind of bummed me out at first. Not to get too sidetracked here, but I was a senior in high school when grunge broke, and bands like Soundgarden were hugely important to me during that phase of my life. Badmotorfinger is one of my favorite albums from that period, and it hit me pretty hard when Cornell died earlier this year. I can listen to Somnuri now without being distracted by them, but it took several listens to get over that hump.

The fact that I kept coming back to the record in spite of it initially giving me a Cornell-related sad is really a testament to how strong the riffs are on the album. From the nimble double-time picking that kicks off album opener “Kaizen” to the heavier than an elephant’s balls final section of closer “Through the Dead,” there are approximately 1,824 killer riffs (give or take – I didn’t actually count them) packed into Somnuri’s 40-minute run time. There are so many, in fact, that trying to single out one or two as highlights is a fool’s errand. Whether you like your sludge swampy, melodic, or atmospheric, there’s at least one riff in damn near every song that will hit your sweet spot.

For me, the standout track on the album is probably “Same Skies.” There’s a definite Mastodon feel to some of the riffs, particularly in the way Sherrel incorporates full chords into some of the more rhythmically dynamic progressions. “Welcome the Stranger” has some of the grungiest riffs on the record, especially during the spacy verse sections. For sheer dynamics, check out the first minute or so of “Pulling Teeth,” which cycles through more riffs that seems possible in that short of a span while still being catchier than it probably has any right to be. Drummer Phil SanGiacomo matches Sherrel change for change throughout the record, turning in a performance that’s both remarkably fluid and incredibly powerful – he beats the shit out of his kit regardless of what time signature he’s playing in. Bassist Drew Mack provides the solid anchor the songs need as Sherrel and SanGiacomo spiral off into musical parts unknown.

In the end, I don’t necessarily know if Somnuri will inspire me to pay any closer attention to what’s going on in the world of sludge going forward, but it is the first album of it’s kind in a while—at least since The Ditch and the Delta dropped Hives in Decline back in May—that I’ve actually wanted to spin more than once. In my book, that’s a ringing endorsement. - Indie Metal Vault

The NYC/Brooklyn metal scene is nothing if not vibrant, but I’ll admit my gut instinct if asked to described a common sound or characteristic is not to go with the sludgy, progressive metal/doom hybrid that Somnuri are cooking up on their debut self-titled album. And yet, a closer listen to Somnuri the album reveals a lot of what makes the scene so alive: a wicked blend of styles and technicality that doesn’t overshadow song structure, respect to influences without being overly slavish, and – above all – the innate ability to kick ass at any tempo. If you’re familiar with the music of Hull, Blackout, and Family maybe you know what to expect from this trio: a huge emphasis on volume, walls of sound that border on the edges of noise, doom, and stoner sludge. Take a messier, angrier Baroness, midway between Red and Blue (magenta?) and throw in a dose of the interplay inherent in great trio bands like High on Fire and you can start to feel what’s happening on Somnuri. There’s a good dose of progressive elements that don’t rely on technicality (although that’s not to say this band doesn’t kill from a proficiency perspective) but instead lend an atmosphere that keeps each track moving in unexpected directions.

And that starts right at the beginning with the opener, “Kaizen” ripping through with modulating ascending lines as Justin Sherrell evokes Matt Pike’s tortured vocals, the song lunging and dipping in a furious gallop until pulling the reins up for a dirge at the end. Throughout Somnuri amps sound like they’re on the verge of breaking apart, bass and drums roll in and out of step with the guitars (check out the screamed vocal sections of “Inhabitant” and the middle of “Welcome the Stranger” to see how effective the band works around a riff instead of simply locking in with it). “Opaque” lends some ambient noise as an interlude between halves of the record, with the second showing some surprising moments of uplifting hooks, as on “Pulling Teeth” which gives the vague impression of grunge filtered through a dirty back alley. The rhythm section of Drew Mack (bass, vocals) and Phil SanGiacomo (drums) really work to provide an anchor when required but also know when to let things breathe and expand a bit. It’s that telepathy that’s so ridiculously important in all bands, but especially in trios, and Somnuri have it. If they didn’t the epic closer “Through the Dead” couldn’t work, taking every style evident on other tracks and blending them into one massive song that leaves a strong taste of Soundgarden in my ears, which is never a bad thing.

Much as I love all of the great black metal coming out of the burroughs (Anicon, Belus…two bands coincidentally playing with Somnuri next week at Bar Matchless: if you’re in the area come join in the noise) it’s great to hear something outside the parameters coming through with the clarity and focus Somnuri display on their debut. This is loud, abrasive music that isn’t afraid to show off it has chops to spare without sacrificing the song. Brooklyn should be proud. - Nine Circles

Somnuri is a testament to how much heavy music the trio also known as Somnuri must consume. This is one's foremost thought as the blistering self-titled debut gallops along, citing influence and paying homage to all manner of progenitors of all that is violent music along the way. Everything from sludge to black metal to thrash to motor rock to doom is churned over. It is fresh ground as a result, and the result blooms as seamlessly as I just made that metaphor work.

The real secret to the band's success on this record, their debut mind, is that it does not do this in parts, but mixes everything up in a pot and allows it all to stew violently together. There are indeed chunks that can be identified, such as the black metal roars on "Inhabitant" that remind one of Krallice, or the sublime guitar work that remind the listener of bands like High On Fire or Torche.

It is indeed a hodgepodge, but as stated above, it simply works and is ultimately a joy to listen to. The production is excellent, the vocal range is fantastic, and the tone and rhythm are formidable. Anyone from metal, rock, and hardcore backgrounds will find something to love about this band and this album. I would strongly recommend you get on this as soon as possible, before you have to fight the lineups to see the band live, an inevitable reality considering how mature and expert their debut already is. - Pure Grain Audio

The Brooklyn trio that make up Somnuri, members of bands past and present including the most noticeable name of Hull, produce a nifty record that feels both cosily familiar, yet fresh enough for any reminders to not be too much of a hindrance.

Kaizen opens affairs, the airy freedom of the rhythms reminiscent of Baroness; it starts well if hardly invigorating the pulse, but improves, turning into something more engaging, without doing much different, as it warms up and forges onwards. Inhabitant impressively morphs between thoughtful vocals over grand, progressive doom guitar, and then galloping forwards on the crest of the riff and a blackened edged vocal change.

The faster pace and harsher vocals of Same Skies cast a heavier shadow, charging into High on Fire fields of war. It is great. In contrast, the following track is slow, wistful, tuneful, swaying along on the guitar, on the aptly named Slow Burn. While piquing interest to begin, it tires quickly, up until the Motorhead/HoF spirit-infused headrush forward latter on.

There's the straight forward Mastodon-ish Welcome to the Stranger that is decent if a tad generic, and the posi-vibes of Floor of the excellent closer Through the Dead that end the album on a real high, and with a satisfied smile.

Between the pillars of the American scene that never truly coined a genre term - post/ progressive/ metal/ doom/ sludge? - of the bands mentioned above, of Cavity, Torche and Kylesa, you'll find all reference points here, nothing particularly new. But nowadays in particular there's definitely scope for new blood, and if it is executed as well as here, then there'll be an appetite for it to match. - Nine Hertz

Somnuri are another one of the rising bands creating a very different sounding style of Sludge/Stoner Metal. As they merge Sludge, Stoner, Noise Rock, Doom, Punk and even Thrash Metal for a heavy cohesive sound. Their debut album is not for the purists but one perhaps for the more experimental hard rock/metal fan who like their music to sound very different and a little edgy at times.

Opening track - Kaizen - is fully formed fast and furious offering with the band providing heavy thrash vocals against a punk driven Sludge/Stoner Metal backdrop that also has elements of Math Rock and Prog Metal to confuse you even more. Even with the music being slightly chaotic, Somnuri do manage to create an easy going atmosphere that reminds me of Torche and Baroness in places. The music maybe different but Somnuri possess a similar environment that only endures you to their music even more.

Second track - Inhabitant - opens with a Southern Sludge/NOLA style riff with the sound being firmly driven by a harsh noise environment. The riffs are plentiful with the harsh and intense growls from lead singer – Justin - allowing the band to show another different side to their music. The clean vocals remind me of Phil Anselmo in places and when you match these against the death style growls, the atmosphere changes into something more primal. The music drifts effortlessly from one genre to the next. Brutally heavy but also with moments of less subtle Psychedelic Stoner Rock.

Third track - Same Skies - is a sludgy thrash driven number which ranks as one of the heaviest songs on the album. It's loud and very ugly in places but the band still add moments of psychedelic sludge/stoner metal that allows this song to be one of the best sounding tracks on the album. Fourth track - Slow Burn - is another song that’s influenced by the legendary NOLA sound but gives way to a more grunge/doom style of music. The vocals are heartfelt and sincere. I wish the band left the harsh growls away on this song. Though the final part of the song sees Somnuri return to their Thrash Metal ways and maybe clean vocals would ruin the moment. Still, I did enjoy the clean vocals the most on this song.

The other songs on the album are just as crazy as the earlier songs. With Somnuri impressing me most on the following two songs - Welcome The Stranger and Through The Dead. As Somnuri finally start to settle down into a more comfortable rhythm and perhaps create some of the albums standout moments.

Somnuri debut album is very experimental throughout and they perhaps draw influences from Tombs and Kvelertak the most. Especially Kvelertak. As they have similar themes and ideas on how to create a song that moves effortlessly across so many different genres. Whilst Kvelertak create a more commercial sound, Somnuri avoid that by sticking to their musical roots and embracing the more "extreme" side of their music.

Somnuri have created a vast and brilliantly heavy experimental album that will hopefully see the band receive the recognition they truly deserve from this release alone. Excellent and Highly Recommended. - Outlaws of The Sun