Donoma - Falling Forward (2017)

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Written by David Shouse, posted by blog admin

Information on this psychotic, tribe-like band is scant.  Donoma, who take their name from an Indian phrasing which translates to “a sight of the sun,” don’t really make available who plays what or the exact formation that the band takes onstage.  The only thing I know for certain is that vocalist/lyricist places her roughhewn poetry and exclamatory vocal stylings at the center of a sound that buzzsaws through blues riffs, goes bonkers on aggro punk tempos, serves patrons drinks of fizzy cocktail jazz and really kicks every genre in the teeth that they decide to tackle.  No instrument is safe as well; the band’s sonic debauchery relying on organic rock staples including bass, guitar and drums but unafraid of expanding its repertoire into keyboards, slide guitar, violins and some possible cello. 

The record starts off with a gallop in the form of “Sick’s” heatstroke, high-speed electrified country guitars challenging Marshall Dillon to a gunfight on the mean streets of Dodge City.  Craggy rhythm breaks incorporate reckless punk rock drumming focus on agile tom fills and forward-mushing beats colliding into the warm bass guitar bed.  Slide licks and trippy background keys give a powerful foundation for vocalist Stephanie Vogt to spill whiskey-fed mantras with growly vocals that would challenge any male competitor in a gravel chewing contest.  “Jack in the Box” retains some blurry country twang but jettisons the genre’s stalwart approach for screaming vocal narration, Touch n’ Go Records’ infected drum n’ bass volatility and shrieking white-noise guitars.  On “Memory” country is blended with powerful, riff-greased blues and coal-mining violins giving way to rollicking tom-tom thrusts and vibrant bass lines.  Vogt proves herself as a vocal chameleon able to handle any style with ease on this one; the nervous nastiness of the prior two tracks morphing into a lizard like slither with melodic, crystalline belting rendering every word clear as day.  Swift, blink and you’ll miss ‘em guitar leads punctuate this mighty piece with just the right amount of psychedelic scorch.  A spot on, deadly accurate cover of Sam Cooke’s “A Change is Gonna Come” retains the soulful blues feel of the original with Donoma and Vogt in particular making it their very own.   

The album starts taking even more chances as it goes along with atmospheric ol’ tyme swing/jazz establishing precedence on “He Loves Me Not,” the dance club tinged “Deep Beneath the Woods” and “Another Light’s” orchestral, cosmic country n’ roll. Nihilistic rage returns on “Splinter” where tempos got kooky and screaming guitar/vocal threats reappear with purpose.  Rounding things out “Unfortunate Son” is a hard-nosed, riff-y blues rocker that pairs nicely with the impending swagger of “Otherside,” leaving a pair of ballads “A New Shed of Colors” and instrumental finale “Come with Me” to drench the eardrums in blissful acoustic guitars that match up gracefully with the crooning vocal performance.  All in all, Falling Forward is fantastic sophomore album from a band poised to take on the world.  Sometimes the music gets a bit disjointed but thanks be to God there’s still a rock band out there that isn’t afraid to challenge the status quo.