aglasshouse In 2016, VICE's Noisey proclaimed Atlanta's WHORES to be the "new kings of noise rock", a title that the band happily flaunts at the forefront of their self-description. Such a description though is very readily able to raise any self-respecting person's eyebrows, as the validity of it could very well be egregious at best.

Whores, or bluntly WHORES., have some credit that is needed to be given, credit that does give some respectability to Noisey's honeyed praise. The band piggybacked off of a very loyal fan-base that ate up their EPs and immense live shows, eventually gaining enough underground traction to score a debut LP in October of 2016. This is, undoubtedly, an opportunity any group of poor saps wanting to make a mark with their music would dream for. The question then remains, I suppose- what made Whores as lucky as they are? What lit the fuse, started the boulder rolling, oiled the machine, and kick-started their career with any other stupid analogy? For the answer, we'll have to go back to the beginning.

Ruiner was the first EP ever delivered by Whores, and was the first peep from the studio to be served to a public forum. Ruiner, with a cover of a sleek .45 with the band's title in brash, unrelenting capitals and a title that invokes destruction, is bound to make an impact even before the music starts. But as the music starts, you quickly discern the source of Whores' success. Their sound. A monumental drum entrance and guitar screeches welcomes in the crushing vigor of 'Daddy's Money', the opening track. Every element present on this track gives credence as to how Whores has appealed to the metalhead market. Right off the bat it makes it clear that they are distancing themselves from the scores of Crowbar and Melvins imitators with the noise rock style Noisey praised them for being the kings of. It almost makes Whores seem like a reincarnation to their Southern brethren in Florida, such as the aforementioned Floor, Cavity and others- all bands who also play sludge with hefty dollops of wrenching feedback dolloped on to evoke a certain amount of rage and distortion not seen by most other metal bands. The whole EP flagrantly uses this heavenly technique, but with each song having a unique hook that propels it forward. Like heavy machine, Ruiner proceeds with a lumbering grace not unlike a titan from Greek mythos. The album stops just the way it begins, pounding staccato drums overlayed by heavy, feedback-laden riffs, wrapping this demonic automaton in a masterful bow.

Christian Lembach's larger-than-life person and voice, Travis Owen's dramatic fills and Jack Schultz's thundering bass-work all make Whores quite the fun equation, proving once again that the underground holds the best secrets. It's safe to say that, even in the fetal stages, Whores definitely warrants some sort of kingship.