Certified rock music incoming as Wiri Donna releases her sophomore EP In My Chambers today, Friday 25 October 2024, following the smashing success of her debut, Being Alone (2022). This time around, Wiri Donna firmly plants herself in rock territory with a bold, unapologetic sound, one driven by a blend of feminine rage, heavy guitar riffs, and searing vocals. The EP showcases a sonic evolution, offering a powerful follow-up to her earlier works that showcases the raw talent and boundless energy that drew in listeners from the start.
Wiri Donna (led by Bianca Bailey) has spent two years since her debut tantalizing fans with hints of a darker, more aggressive project. Now, with In My Chambers, she's delivered a collection that strikes with an explosive intensity. Recorded at Surgery in Newtown with longtime collaborator James Goldsmith and featuring the incredible talents of Harrison Scholes (Arjuna Oakes, TOI), James MacEwan (Arjuna Oakes), and Elliott Dawson, this six-track EP takes listeners on a dynamic journey filled with ambitious songwriting and arranging, and the grit of someone who’s been through the wringer but refuses to back down.
The opening track, The Gold, kicks things off with headbanging intensity. Channeling 2000's metal influences, the guitar riffs are sharp and exhilarating, setting the tone for what's to come. The vocal effects and textured bass breaks add depth, making for a gripping introduction.
In My Chambers follows, blending pop-punk guitar riffs with well-crafted hooks. The song feels instantly familiar, and its structural complexity—ranging from spoken word moments to cleverly placed harmonies and even some percussive breathing —gives it an edge. It’s a standout moment in the EP, balancing a smorgasbord of satisfying callbacks to the genre's greats.
With Stop Charades, Wiri Donna dials down to a Fleetwood Mac-esque bassline while the lyrics and Bianca's voice take centre stage. Soon the angst is back though, the vocals that only a moment ago smoothly lilted atop a sweet groovy baseline suddenly a powerhouse atop a wall of crunchy chords. It’s a master class in contrast, and Wiri Donna has it on lock. Bad Behavior returns squarely to the 2000's metal influence, and features one of the most impassioned vocal performances of the EP. But my favourite song of the EP has to be Hell or Highwater.
Hell or Highwater stands out as a feminist anthem, with yet another striking contrast between almost chanted choruses and spoken verse. Bianca's spoken word makes the often maligned kiwi accent sound good with a capital G. The song's honest and defiant lyrics— “I’m sick of being so goddamn angry all the time”...“And let me tell you right now, that this is mine and don’t you dare take that away from me. Let me tell you right now, everybody is taking away from me”—is so necessary and refreshing in an era of commercialized, bubble gum empowerment. It’s the heart of the EP, burning with righteous fury.
The final track, Sink, adds even more variety with its Latin groove, alternative-rock mashup. The half-time bridge and vocal belt—that ever-present 2000's influence—leads to a climactic closer, concluding the EP with a wall of sound that suddenly cuts…the end.
In My Chambers is a triumph of kiwi rock. The energy never stops, and it never gets dull. A brilliant blend of strong vocal hooks, memorable riffs, and dynamic structures. Wiri Donna has masterfully crafted an EP reminiscent of the best of early 2000's alternative rock and metal while imbuing each track with her own voice—one that’s deeply rooted in feminist themes and the quirks of the New Zealand alt scene. This EP is a must listen.
If you’re lucky enough to be in one of the following cities, catch Wiri Donna’s release tour this November and December where she’ll be bringing her live energy to stages across New Zealand.
Wiri Donna begun as the indie-folk alter-ego of SOG's Bianca Bailey, these days turns out that Wiri Donna isn't so folk after all, more dinky riff rock designed for sweet summer moments. Music that will make you sigh and think about stuffs.