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Band Alternative Punk


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"Let There Be Light: Bands Rock Despite Power Outage"

By Matt Franciscovich
The third band to play was Monera and the night marked the release of the band’s first full-length album Well-Dressed Ghosts. Many in attendance seemed quite familiar with most of the band’s songs, and enjoyed the set to the fullest extent. At times reminiscent of post-hardcore act MeWithoutYou, Monera’s vocals came from each member of the band at different times accompanied by heavy riffs and somewhat psychedelic jams. While the band finished their set, it seemed that some of the early crowd was making their way out, perhaps to see Monera’s second show of the night downtown at the Pub.
- Oneonta State Times

""Post-Hardcord Band Offers Solid Debut""

By Tim McNulty
From start to finish, Monera’s debut full-length Well-Dressed Ghosts is defined by precision, aggression and insistent rhythmic drive, undercut only by its adherence to for m and genre conventions. Depending on your perspective though, this may not necessarily be bad thing. The album is a prime example of math rock-influenced post-hardcore, and its inherent limitations also represent a tight stylistic focus. In other words, fans of this niche sub-genre will be enamored, but those looking in from the margins will struggle to find accessibility.
One of the first things that comes to mind as the album unfolds is the leanness of the sound – most post-hardcore bands augment their intricate riffing and complex rhythms with a wall of guitars; the end result is usually cacophony, which is fine if that ‘s the intent (see: Drive Like Jehu, The Blood Brothers). Monera, on the other hand, are essentially a power trio – they cut out the unnecessary fat, providing a limber, muscular sound. As a three-piece of guitar, bass and drums, the band often acts as one unified rhythm section, tightly locking in with one another, as on the opener “Rape Whistle,” to produce a clean, sharp timbre that defies the skittish aesthetic set by mid-late period the Drive-In, and continued by latter day torchbearers Q and Not U.
While these stylistic flares certainly differentiae Monera in the immediate sense, they don’t exactly constitute full0on revolution. The album remains steeped in progressive hardcore etiquette: the lyrics are impressionistic, filled with visceral emotional imagery and inscrutable metaphors, the vocals (contributed by all three members) are nearly all gravel-throated screams, and the volumes and unusual time signatures are relentless. Drummer Zach Lipkins’ own sonic concoction, the down tempo “Wives,” provides the album’s only breather, though the brooding tone and tense distortion of his mostly electronic piece blends easily with the disc’s overall atmosphere.
Still, despite the blurring effect wrought by repetition, several tracks, the rumbling groove of “My Left Fang” and dizzying arrangements of “Portable Grin,” leave a lasting impression. Monera have managed to put their own personal stamp on what is arguably an archetype niche record: they zero-in on their strengths and go for the kill; leaving little room for variation. To those unfamiliar with the style, Well-Dressed Ghosts may simply fall by the wayside, but for connoisseurs of the contemporary of hardcore, it stands as an adept, forceful and notable debut.

- Oneonta State Times


"Well-Dressed Ghosts" released in February of 2008



Monera is a dynamic and original trio consisting of members Ryan Hare, Dan Stevens, and Zach Lipkins. They began writing and developing their sound with the intentions of bringing something new and interesting to the hardcore, independent music scene. Their Music is a blend of intensely aggressive and experimental sounds with a subtle and sarcastic attitude towards the stereotypes of the musical scene today. Monera doesn't pride themselves on image or familiar sound. They want to open up the possibilities for musical creativity and move forward from the dead end of comfortable overdone and trendy punk and hardcore music. Progression is the only answer for these assholes. Monera is choking on the shit of declining artistic creativity and vomiting it back into the face of generic music.