Sardinian heavy rockers Mano de Mono release their debut album, Chameleon Tongue, April 15 on Electric Valley Records. They seem to take multiple ecosystems under their wing in their presentation, from the sands of the beaches at Capo Comino Dunes Bay to a leafy rainforest where one might find the lizard on the righteous Jo Riou cover art standing out from its surroundings, to the falling timber sample that begins opener “Old Tired Tree,” to a heavy chug that, like their moniker, traces its source back to the ’90s Southern-style heavy of Corrosion of Conformity, touching on Pepper Keenan‘s earlier work in Down by the time they get to the more aggro approach in the penultimate “Easy to Fall” and the subsequent closer “Space Comanche,” with guitarist Athos Cherchi roughing up his vocals. But it’s the groove and the songwriting that’s paramount, and with a total lack of pretense and a seeming call to embrace what’s being posited as a kind of return-to-roots in terms of style, Cherchi, fellow guitarist Kiko De Santis, bassist Marco “Buzz” Murru and drummer Keko Magrini waste precious little time and effectively convey the intentions of their craft, which I’ll conjecture is to kick ass, chew bubblegum, with a need to get more bubblegum later on. Fair enough.

It would be underselling the interplay between the guitar and bass on “Old Tired Tree” or the hooky title-track to say Chameleon Tongue isn’t focused on nuance — in fact, the tones and the mix both come across as having been paid due attention, and the according presentation of the album is no more easy to pin down in terms of landscape than it’s apparently intended to be — but set in balance with their songs’ straightforward structures, Mano de Mono nonetheless engage more than directly challenge the listener, whatever brashness might come through in Cherchi‘s burly vocal style. “Lying Bones” is the most specifically C.O.C.-derived of the inclusions, tapping Deliverance-era riffing (it might be “Shake Like You” I’m hearing?), and that continues a bit into the airy start of “Strength Flow,” the guitar-led opening building on a Southern feel even before the rolling central riff of the side A finisher takes hold. They smoothly execute volume changes from subdued and bluesy to bigger nodding while foreshadowing the turn in “Easy to Fall,” but the key ultimately is the momentum they’re able to readily establish in the first half of the album, and that continues fluidly onto the second.

“Sons of Barabba” has a swing and swag that turns into push, but still isn’t as mean as it seemingly could be. By this time and into “Ruins,” which follows, the basic tenets of Mano de Mono‘s sound have been laid out, but there is some expansion to be had. Consider the punkish shove of “Ruins” and the crunch with which it’s paired. In under three and a half minutes, Mano de Mono are efficient here and in a song like “Chameleon Tongue” itself in a way that owes its foundation to a time in which tracks like these might’ve been radio singles. Now I suppose they’ll take their chances with the algorithm, but that kind of get-in-show-’em-what-you-got-get-out mindset, especially as they work their way toward the ending of side B in “Easy to Fall” and “Space Comanche” — one assumes the politics of appropriating indigenous groups is different when it’s an indigenous group for somewhere else — is essential to understanding the ’90s era from which they’re drawing influence, shades of grunge and harder-hitting fare finding themselves included in the meld of impulses on display here. And it is a meld, but nothing they’re doing feels beyond their reach, and just because something has straightforward ambitions doesn’t mean it’s simply done.

Mano de Mono nestle into a beginning point for a broader exploration of style, offering catchy choruses and thrown elbows all the while. In what direction they might go over the longer term remains to be seen, and of course part of the excitement of Chameleon Tongue is not knowing what will follow, but the underlying sureness of their songwriting speaks (loud) volumes about what it is that will allow them to go wherever they’re headed. Safe travels and thanks for the riffs.

It’s my pleasure to host the full stream of Chameleon Tongue below ahead of the release on Friday. PR wire whatnot follows beneath.

Please enjoy:

Mano de Mono, Chameleon Tongue album premiere

Mano de Mono on Chameleon Tongue:

The sound that characterizes the album refers mainly to the sounds of the 90s ranging between OctaFuzz, percussion from abysmal gravity and fat basslines similar to tar paste — a sound mixture that creates harmony and compactness to the final work. In the end, the band deals with themes focused mainly on the sociological discomfort that has been created by staying in a place that has little or nothing to offer, so they feel the urgency to fight to stay at their home and not give in to the desire to leave.

Mano De Mono – Chameleon Tongue
Vinyl:
www.electricvalleyrecords.com
www.evrecords.bandcamp.com

Available in:
– 4x Test Press
– 250x Solid Blue Vinyl
– 220x Transparent Yellow Splatter Green Vinyl
– 30x Ultra LTD “Chameleon Edition”
– Digital

Chameleon Tongue is the first LP of Sardinian band Mano De Mono, recorded during the hottest week of July 2021, mixed and mastered in the followin’ fall at Officina13 Studio. Eight tracks, four on each side respectively called “Inside” / “Outside”, are experiences through the new shapes of social constructs. The contradiction of a double life divided in anxiety to achieve social approval while being frustrated of its cold mechanisms. The cover artworks reflects the sides dichotomy in/out of the cage as a relatives points of view of who thinks itself free by the blind acceptance his own condition.

Totally refusing to face with the contemporary codes of aesthetics, careerism and latest trends that made the worst individualism became a strength, this record is a pure moan directly distilled from a misfit mental loop that hate the human behavior of submission and surrender but somehow have to deal with.

Mano De Mono refers to their style as “punk of the dunes” mostly because his social thematic , the sandy influenced sound and of course the place where they live. They won’t offer you any solution except leaving in you a stoned feeling of wanderlust.

Formed in 2018 in Capo Comino Dunes Bay, from an early project by Athos and Marco “Buzz” Murru, the duo recruited in 2019 drummer Keko Magrini and guitarist Kiko De Santis to complete the lineup and proceed working on original songs and its arrangements. Their sound is freely inspired by ‘90s Palm Desert Scene, NOLA, Seattle’s first wave in its heavy expressions and a punk spirit.

Recorded, mixed, and mastered Andrea Pica at “Studio Officina 13,” Olbia (Sardinia).

LINEUP:
Athos Cherchi: Voice, Guitars
Marco “Buzz” Murru: Bass
Kiko De Santis: Guitars
Keko Magrini: Drums

Mano de Mono, “Chameleon Tongue” official video

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Tags: Chameleon Tongue, Electric Valley Records, Italy, Mano de Mono, Mano de Mono Chameleon Tongue, Sardinia

This entry was posted on Tuesday, April 12th, 2022 at 6:34 am and is filed under audiObelisk, Reviews. You can follow any responses to this entry through the RSS 2.0 feed.