Daly's Gone Wrong

The burgeoning NYC local scene has always been warm to young punk, ska, and hardcore bands. However, it's been a while since one act was able to channel all three genres into the same song, let alone the same record. Daly's Gone Wrong, veterans of the Bronx Underground scene who have been cutting their teeth for almost five years , do it almost effortlessly on "Exit Where You Belong", their newest self-released EP. And, like their full-length before that ("The Fourth Wave") this one is full of all the character and influences worn on DGW's sleeves over the years.

What makes Daly's so unique is singer Joseph Parella's vocal range. He's able to go from reggae-tongued ska-punk to venue-destroying hardcore screams without a second thought. This is all well and good until it is complemented by the diverse percussion stylings of John Rodriguez who has no problems playing speed-punk beats right before catching himelf up in a scoop and coming down with a breakdown. Bassist Andrew Santucci (who has recently departed from the band) fits into the equation nicely by not only adding to Rodgriguez' rhythm but by keeping excellent pace with the guitars. Adrian Baldor and Parella sport the axes on this EP and do a fine job of staying one step ahead of the vocals and the overall tone of each song, a feat in itself considering how quick the landscape usually changes in a Daly's number. Clearly, here are four guys with a dynamic that always challenges each to be a better musician and, more importantly, keep the songs just as fun and powerful as when they were first written.

As for the songs themselves, they keep the Daly's spirit alive through all six tracks. "It's Nice to Set Your Band Members on Fire" is a coridial introduction to how DGW rolls as it opens with breakdowns before going into ska-punk riffs, then tears shit up again, and closes out with some reggae-ska flavor. They pour a little more seasoning onto "Where Was Hope When She Needed It?", which opens with a Goldinger-esque intro before going into steady clap-beats a few verses and a despair-diving heavily breathed chorus, followed by a metal outro that keeps the record flowing into its next song. This next one, "Die, Die, Die, and Then Some...", is their single as dictated by their deep-rooted Bronx following, It opens with the most commanding "island-hopping" intro before going into a ska-punk structure that climaxes in some vicious screaming that only becomes more violent when it brings out the metal-core before taking us back to its crescendo-like choruses. Simply put, this is one band that will not be confined to labels and sub-genres. "And The Heartless Will Mean Nothing" starts off with a somewhat trite, but cute, emo-punk melody that is rudely eclipsed by more scream-parts before the music breaks down into a pit-worthy ruckus caused by Rodriguez. It must be noted that this is all before the song actually begins forming its own identity, which is more of the same sound that hasn't had a chance to wear off yet, so it works in its tracklist placement. It then closes out with a creepy "Nightmare on Elm Street"-esque underscore before launching into the next track. "Dear Ava (I'm Bleeding For You)" is an acoustic re-working of the single from "The Fourth Wave" that long-time DGW fans will be glad to hear as the stripped-down sound puts you in the band's head for songwriting approach. Not to mention, it once again showcases Parella's vocal range as he becomes a little more natural and endearing versus his ska-quippy and scream-core personas.

To close out the EP is "Dreading December", which opens with a sick bass + guitar intro before giving us the most distinct vocals on the record and a near-anthemic scream crescendo. But the roller coaster's not over. The speed drums pick up before teasing a curtain-calling breakdown, going back to a bit of a ska jam session, and then taking it home with their trademark breakdowns used to open their live show. This seems to all be in tribuite to what the band has always been about, four guys who liked going to shows and opened their ears to so many different styles before developing their own. The outro to both song and record exemplify a connection to their diverse audience who has brought them this far and will continue to support through their next big moves.

All in all, a very solid effort from a band that has paid its dues and played the DIY game long enough. In a scene where people are sick of being labeled and attempt to counter boredom by trend-hopping, Daly's Gone Wrong is that breath of fresh air with something on the table for everyone who has a passion for rock music.

- www.WrankMusic.com

first heard Daly’s Gone Wrong on MySpace after they had released their first disc, The Fourth Wave and their single “Dear Ava.” I was really impressed by how tight they were, but their mixture of every style imaginable really confused me. I didn’t know if I liked them, but for some reason, I kept going back and listening to it. After hearing “Die Die Die and Then Some” off of their new release Exit Where You Belong, I had to hear the entire disc to get a true look at this novel band. I can’t really describe Daly’s Gone Wrong in a sentence or an entire introduction, as they do so many things that I’ve heard no one try before.

The first track, “Its Not Nice To Set Your Band Members on Fire,” fades in with a kind of distorted static, blending into chaotic and dissonant hardcore with powerful vocals over the top. After about a minute, the track takes its first unexpected turn when the drummer, John, sets a completely different tempo, leading the song into a catchy and poppy punk section. Up through this section, Daly’s Gone Wrong sounds like an extremely talented screamo band. But brace yourself, because here comes some ska. The vast vocal capabilities that DGW’s lead singer, Joe, shows are incredible and wholly unexpected. He screams high and low, sings, and even puts in a little reggae-ska flavor for good measure. He often doubles his own vocals with the same note, which rubs sometimes, but usually it makes the vocals more dynamic and energetic – especially when he screams underneath singing. Daly’s Gone Wrong doesn’t write songs but five-minute epics consisting of more sections, parts, lyrics, and styles to count. I’m glad they return to the punk melody that they had carried off so well earlier in the song, but they mix it up with a little hardcore, and blend into a slow dub part that really makes the song for me. But, for DGW, nothing’s cut and dry, so to blend from this laid-back feel, the song stops and Joe screams “1, 2, 3, 4” and the song blends into a latin groove with “HEY!”s and some awesome guitar melodies. The song finishes off with a screamo buildup and a final punch. This unorthodox mixture of styles is not uncommon for DGW. The next song, “Where Was Hope When She Needed It” is one of my favorites on the disc. It starts with some pretty awesome ska, but some of the lyrics are screamed for an effect that catches the listener almost completely off guard. DGW really shows off their expertise in ska / dub / reggae in this song, combining some awesome drumming, well-written guitar and bass tracks, and an unmistakably awesome groove. The vocals that Joe throws into the slow ska sections are incredible and unlike anything I’ve ever heard before. They get a little trebly and high-pitched at times, but Joe has so many styles that it doesn’t get so repetitive that it gets annoying.

The third track, “Die Die Die and Then Some” seems to be the single off the disc, and it’s another favorite of mine. Along with the hardcore and ska attributes that they’ve already exemplified, they throw in some fast-paced and catchy punk that sets up the third-wave ska sections really well. When the band reaches a hardcore breakdown, its unexpected and subtle, I just wish I could pick out more of their screamed lyrics. There’s another slower-paced ska section that blends into more well executed punk, rock, and hardcore to bring this track to an definitive end. “And the Heartless Will Mean Nothing” is next up and is a lot more hardcore than the previous tracks. In this style, I think the snare drum could have been a lot cleaner, not in the way John plays it, but the way its tuned. It sounds like it should be a machine gun, but doesn’t quite reach this goal. As I’ve come to expect from DGW, they find a way to get back into ska, even in a hardcore tune. The song makes its way back to hardcore with some cool guitar features underneath, and ends with some variations in tempo, which are really tight and impressive. I have to give Daly’s Gone Wrong some props for putting my favorite song of theirs on their second release, but redone acoustic. “Dear Ava (I’m Bleeding For You)” takes the original and breaks it down into simple and eloquent components with acoustic guitar, percussives, and even some background screams that accent the vocals really well. When I heard this song, I was like a kid on Christmas – it’s awesome. The finale track, “Dreading December,” starts with some pop punk that reminds me a lot of The Starting Line, but after only 20 seconds, DGW comes in full force with fast-paced and driven punk / hardcore. Even though I should expect it, the next section surprises me again – more tight ska. The bass tone sticks out a little bit in this section, but the tone works really well with the other sections of the song. As the song gets back into hardcore, Joe seems to scream for the last 2 minutes of the song, which I’m not into stylistically, but his endurance is incredible. The disc ends with some awesome clean guitar - www.CtSka.com